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Film Festivals 
This Amazing Girl Shirl 
The Mickey-taking Boultings 
Cover Girl 

When They Were Young 

Star off Duty : Norman Wisdom 

Sweet Sixteen : Portraits 

Star off Duty : Yvonne Mitchell 

Hollywood : It’s Still An Exciting Place 

Marilyn Monroe 

Elvis Presley 

Brigitte Bardot 

Cliff Richard 

Sophia Loren 

Spotlight On The British Studios 
The Voice of Magoo 
Hitch — He’s Always In The Picture 
Star off Duty : Kirk Douglas 
Who Is This Man ? 

Handsome Sixteen : Portraits 

Richard Attenborough and Bryan Forbes 

Scenes that Shook Us 

Halas and Batchelor 

Restless, That’s Laurence Harvey 

New Face in Films 

Stars Who Set the Fashion 


Starry-eyed Mr. and Mrs. 

Grand Old Man of the Screen 

Stills by Cornel Lucas 

Ten of the Best 

The Man Other Actors Fear 

Swinging Sixteen : Portraits 

Ingmar Bergman 

Memorable Moments 

Are We Being Fair to Liz Taylor ? 

William Wyler 

The Men Behind Tom and Jerry 
The Seven Screen Sherlocks 
Zest ! 

Eastern Glamour 

Personal Interview : Virginia McKenna 

Stylist of the Stars 

Clever Youngsters 

Box Office 

British Favourites 


Leave ’em Laughing 


W HAT are Film Festivals and why are they 
held ? 

The word festival might lead you to 
suppose that it is just a period of merrymaking 
and feasting held by the film world. This is not so. 

Film Festivals are primarily shop windows in 
which film makers from all over the world can 
exhibit their wares for a week or a fortnight — 
provided the films are good enough to be selected 
for exhibition. Festivals are now held all over the 
world, although the first was held at Venice, in 
Italy. There are now so many of them that some 
people are becoming a little worried by the time 
and expense that they represent. 

Last year, for the first time since Festivals burst 
upon us, the executive committee of the Interna- 
tional Federation of Film Producers Association 
decided to put all festivals in three categories. 

Into the first category went the well-r^ognised 
affairs, Berlin, Cannes, San Sebastian and Venice. 

Into the second went those which are either 
specialised or do not insist upon first-run films, 
such as San Francisco, Cork and Mannheim. 

The third category consists of “ non-recognised 
festivals.” This included the Moscow Film Festi- 
val, because “ although the federation studies the 
whole problem in liberal spirit, it expects the 
festivals to be as unpolitical as the federation 
itself.” Which means that although Communist 
or Conservative may attend a Festival, it is not 
expected that the Festival itself will show a leaning 
one way or another. 

Although one always sees glamorous pictures 
of stars on the beach, whenever a beach is available, 
in fur bikinis or evening sparkle, it is actually much 
more than a lively and enjoyable spree — even for 
the stars, for every day there are interviews, 
batteries of cameras to face, conferences to attend, 
and everyone talks shop all the time. 


Mot All 



mim'( at Caanat — 
Anaa Haywood DIO 
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© Fleetwajr Publications Ltd., IH6^ 

The Cannes Film Festival was 
held first in September 1939 — but 
World War II turned the world upside down 
stopped it being held then. Instead, it opened in 
1946 and since then has taken place every year 
except for 1948, when the Palais des Festivals was 
not ready to receive it 

At Festival time, Cannes is transformed. A 
temporary town springs into being, its head- 
quarters divided between the crowded Festival 
Hall overlooking the blue waters of the Mediter- 
ranean and the elegant, jostling lobby of the 
Carlton Hotel. Who knows what will happen — 
recorded or not recorded — in this luxurious, 
exotic setting ? 

In the 1959 Cannes Film Festival, the accent 
was on youth — and stars from all over the world 
were welcomed by the younger set of the French 
screen. Youngest of all was 14-year-old Jean 
Pierre Leaud, the star of Les 400 Coups {The 
400 Blows), which won for its director, 27-year-old 
Francois Truffaut, an award for the best direction — 
and this was his first feature film, a charming story 
of the fears and distresses that beset children. 

Award for the best actor went to three stars — 
Dean Stockwell, Bradford Dillman and Orson 
Wells in Compulsion — and for the best actress to 
French Simone Signoret for her brilliant perform- 
ance as the unhappy wife used by Laurence 
Harvey in his rise to prosperity in Room at the Top. 

At Argentina’s first ever film festival — the Mar 
del Plate F ilm Festival, held last year from 10th to 
20th March — I Was Monty's Double, Ice Cold in 
Alex and A Night to Remember were shown. 
John Mills, the only British star to attend, was 
given a tremendous reception. He could not move 
without being surround^ by crowds. 

The Venice Film Festival in 1959 marked its 
20th anniversary. It began in 1932 and originally 
was a biennial event and this, with the war years 
added, accounts for the discrepancy in the anni- 
versary date. This was the first year that it had a 
special section for TV films, in which Granada 
won first prize for Table Manners. 

It is known as the “ Mostra ” and its opening 
night was marked by more pomp and ceremony 
than usual. The film shown was The Boy on the 
Bridge, that charming little story of a Iwy who 
temporarily lives on Tower Bridge and makes 
friends with a seaguU. Those present included the 
boy star of the film Ian MacLaine, who during 
the performance sat next to Gina Lollobrigida. 

The 14 films shown, one each night, were chosen 
by the Festival’s selection committee, who had 
seen 132 films during the preceding six months, 
the only criterion of their choice being the artistic 
qxiality of the film. Ingmar Bergman’s The Face, 
the Swedish film, and America’s Anatomy of a 
Murder were among the 14. 

The end of June saw the opening of the Berlin 
Film Festival, which began in 1951, during which 


ABOVE : Micheline Presle and 
Marcel Achard danced — when 
not on jury duty — at Cannes 
durinc the 195* Festival. 

The scene, acain, is Cannes. 
And amonc plushy 

limousines was a bike. Its 
Tati, used it 

LEFT : Diana Dors— and her Cadillac car — 
mobbed by fans when she flew from Britain 
to a Cannes Film FestivaL 

ABOVE : Tommy Steele, star of “ Tommy the 
Toreador,” went to Moscow and introduced the 
locaUs to the West’s secret weapon — Rock I 

Jacques Charrier, 
o w Brigitt e 
Bardot’s husband 
and father of their 
son Nicholas, seen 
with Pascale Petit 
at the 1959 Cannes 
Festival . . . been 
fishing I 


Wide awake per- 
formance by little 
Hayley Mills, 

John Mills* 
daughter, in 
** Tiger Bay,** 
won acclaim not 
only at the Berlin 
Film Festival, 
where she was 
awarded a Silver 
Bear for the best 
performance by 
an actress, but all 
over the world. 

films from 35 different countries were shown. 
This marked the third successive year of success for 
J. Lee Thompson, whose Tiger Bay was shown. 
Previously, Ice Cold in Alex and Woman in a 
Dressing Gown had won awards — the first winning 
a specif prize and in the second Yvonne Mitchell 
was adjudged the best actress. Also shown in 
Berlin was The Siege of Pinchgut. 

August saw two more festivals — the Edinburgh 
Film Festival, inaugurated in 1947, and the Moscow 
International Film Festival. 

For screening at Edinburgh, The Nun's Story 
and John Paul Jones were selected, the Siege of 
Pinchgut and the French Orpheu Negre, which had 
previously won the Golden Palm at Cannes. 

The Russian Festival held in 1959 was the first 
of its kind in the Soviet Union. Room at the Top, 
with Russian subtitles and A Cry From the Streets, 
also subtitled, were among the films shown, and 
young Dana Wilson, the star of the latter, was 
flown from Australia with his mother to attend 
among the Guests of Honour. Richard Todd was 
another Guest of Honour, and other among 

visitors were Tommy Steele, Carole Lesley and 
Peter Arne. 

The following month, under the auspices of the 
British Council, a Festival Week of Fil^ from the 
U.S.S.R. was held in London and Glasgow and 
later in Birmingham. This was part of an exchange 
of film festivals organised by the British Council 
and the Soviet Ministry, and seven British films 
were shown the following month in Moscow, 
Leningrad and Kiev. 

The Soviet films shown were Their Lives are in 
Your Hands, The Destiny of a Man, The New 
Number, Teenagers, Parental Home (all modern- 
day stories), and The Captain's Daughter, adapted 
from Pushlii’s story, and Part One of The Idiot, 
from the novel by Feodor Dostoevski, both period 

The British films chosen from 100 submitted 
were Richard HI, Oliver Twist, Genevieve, Geordie, 
Woman in a Dressing Gown, The Horse's Mouth and 
The Importance of Being Earnest. 

The London Film Festival, held in October, was 
sponsored by the British Film Institute and the 
L.C.C. It included mainly prizewinners from other 

The third San Francisco International Film 
Festival was held in November. 

Lately there have been second thoughts about 
these smaller Festivals. There are too many and 
they are difficult to control. These are the main 
complaints although I do not know how widely 
the word “ control ” may be employed. 

Nevertheless, Film Festivals will undoubtedly 
continue for they perform many useful services. 

Paul Miwl,, 
Sylvia Syms aad 
Georce Bakar. 
three Britiih 
stars, enjoy a 
** cuppa *’ at a 
cafe during the 
Cannes nim 
Festival in I9SV. 



“ X DID everything short of standing on my head 
I in Times Square to get recognition and tried 
^ everything short of Greek tragedy to get 

So says that captivating, rust-haired, freckle- 
faced actress Shirley MacLaine. Exceedingly 
versatile — her screen roles have ranged from the 
dramatic to comedy — she has rightly been 
acclaimed as one of the brightest stars to zoom 
across the Hollywood horizon during recent years. 

Shirley does not deny that she has been fortunate 
but she’d Uke a little credit for effort ! 

Bom Shirley MacLaine Beaty on 24th April 1934 
in Richmond, Virginia, she started out studying 
ballet. As soon as she was old enough to leave 

her family she chose to settle in New York. A 
chorus girl in the shows Oklahoma !, Kiss Me Kate 
and Me and Juliet, she says : “ I spent so much 
time in choruses I could recognise every star on the 
New York stage by the back of his head.” 

Shirley also appeared on television, modelled for 
stores and photographers and danced with the 
National Symphony Orchestra in Washington? 
Characteristically she made the most of every part, 
no matter how small, and never stopped her 

“ I took voice lessons mainly to make certain 1 
could make myself heard in the last row of the 
balcony,” is her explanation. 



Her gamine personality — she has been described 
as a “ personable pixie ” — was first noted by 
Producer Hal Wallis during the New York pro- 
duction of the Pajama Game when Carol Haney, 
the star of the show, fractured her ankle, and 
Shirley, who was understudy, replaced her. Wallis 
went backstage and signed her to an exclusive 

Her first film test was a charming informal reel in 
which she merely did a dance step without music 
and talked with sincerity about herself. This test has 
since become a tonic for everyone watching it — all 
are entranced by the girl who had done nothing on 
the screen but be herself. 

It was shown to Alfred Hitchcock and he, always 

astute in his choice of leading ladies for his pro- 
ductions, decided she was the girl he needed for the 
fey character of Jennifer Rogers in the macabre 
comedy The Trouble With Harry — his “comedy 
about a corpse.” Hitchcock acclaimed her as “ a 
great dramatic actress.” 

Hal Wallis, who then starred her with Dean 
Martin and Jerry Lewis in a musical comedy 
Artists and Models in which she sang, danced and 
acted, said of her “ she combines continental charm 
with American wholesomeness.” 

Shirley seems to have made as great an impres- 
sion on her co-stars, for throughout her film 
career she has appeared more than once with a 
number of them. Her newest comedy with Dean 


Martin is All In a Night's Work, and she also 
played with him in Career, a drama. Remember 
her teaming with David Niven in the late Mike 
Todd’s vast production of Jules Verne’s classic 
Around the World in Eighty Days and also in the 
lively Ask Any Girl ? She has twice starred with 
Academy Award winner Shirley Booth, first in 
Hot Spell, which was her foremost dramatic role 
followed by The Matchmaker, a period comedy. 
Her next co-star was Frank Sinatra — she played 
the loose-living girl who loved him — in Some Came 
Running. Dean Martin was also in this film. 
Frank then personally requested her for Cole 
Porter’s extravaganza Can-Can. In it she played 
a dancer in the Paris of 1896. Her only Western 

was The Sheepmpn. Her latest picture is The 
Apartment, opposite Jack Lemmon. 

Natural, friendly and outspoken with absolutely 
no personal vanity, she says hard work, ambition, 
coincidence, good teachers, her husband’s help 
(she married Steve Parker on 17th September 
1954) and — characteristic of her sense of humour — 
Carol Haney’s ankles are circumstances that 
enabled her to achieve success. 

In 1956 she took time out for motherhood, 
giving birth to her first child, Stephanie. An 
enthusiastic actress, who in between film work 
appears on television and occasionally on stage, 
Shirley admits that the possibility of a homeful of 
children (hers) could modify many of her plans. 


Those terrible twins of the British film industry : John, with 
glasses, and Roy. Noel Coward once said they had no tense 
of humour 

B ack in 1938 two men took over the back 
garden of a big house in Highgate, brought 
in child star Binky Stuart, and knocked oflF 
their first film, a two-reel effort that didn’t exactly 
start a rush for their services. 

In 1959 a film produced and directed by the 
same two men was the top British box oflice hit of 
the year. The men : the Terrible Twins of the 
British film industry, John and Roy Boulting, and 
the film that hit the top in ’59 was, of course. I'm 
All Right, Jack. 

The name Boulting^ has become synonymous 
with laughter, but the twins were first associated 
with dramatic films like Pastor Hall, Brighton Rock, 
Seven Days to Noon, Thunder Rock, and The 
Guinea Pig. But then they found that ridicule was 
a more effective weapon. 

Institutions so far ridiculed by the Boultings have 
included the Army, the Law, and that holy of 
holies of modem life, the Trade Union. They 
made Ian Carmichael into one of the funniest 
funny men in Britain in Private's Progress and 

. . . and some of 


ABOVE : ** I'm All Right* Jack.** Peter Sellers ponders and 
Terry*Thomas listens to John on the set 

Brothers in Law, and gave Peter Sellers a part in 
Lm All Right, Jack, that lifted him right out of 
goonery — and won him a British Oscar — and into 
character acting with side-splitting results. 

The mickey-taking Boultings haven’t always 
found it easy to take their hilarious jabs at official- 
dom. When they started on Private's Progress 
some gentlemen in Whitehall decided that the 
Army was far too sacred an institution to be 
laughed at. War films were fine, so long as they 
were kept suitably stiff upper lip and the officers 
were shown in an admirable light. But a film that 
took the mickey — oh dear no. Their refusal to 
co-operate cost the Boultings an extra £10,000 for 
equipment hke tanks, guns, etc., that they could 
normally have borrowed. 

Whilst taking a tilt at trade unions in I'm 
All Right, Jack, production was held up because 
of — trouble with a trade union ! If that wouldn’t 
make a good plot for a Boulting film, I don’t 
know what would. 

But it takes more than the frowning disapproval 

their successes 

BELOW ; In “ Private’s Progress ” Ian Carmichael’s tongue 
was delicately stuck out at the Army. They didn’t like it a bit 


ABOVE : In ** Carlton-Browne of the F.O.,*' the Foreign Office 
wu gently taken apart. It will never be the same again 

BELOW : Another scene from " Private's Progress ” where 
dirty work was not the sole privilege of the " other ranks ” 

of officialdom to put the Boultings off their stride. 
Early in their careers, Roy, until then the director 
half of their producer-director partnership, fell 
ill halfway through a film. To hold up production 
would have broken them financially, so John took 
over the direction. For a whole day, nobody on 
set even realised that John was John, if you see 
what I mean, for they’re identical twins, and to his 
astonishment John discovered that he had exactly 
the same methods of directing as his brother. The 
fact that he had never directed a film in his hfe 
before didn’t seem to matter at all. After that 
they started taking it in turns to produce and direct. 

About the only thing that Roy and John seem 
to take seriously is film making. They have said 
that they make films because they enjoy making 
films — good films. 

“ And if we do a bit of debunking, we are 
debunked too — by our wives,” they once admitted. 
“ They refuse to take us seriously.” 

It seems hard to believe now that Noel Coward 
described them some years ago as “ Brilliant boys, 
but quite humourless.” It was that remark that 
set them thinking. The result of their thoughts 
was Private's Progress. 

After seeing that film one American critic wrote, 
“ You may be losing your Empire, but, thank 
goodness, you haven’t lost your sense of humour.” 

We’re not likely to get the chance while the 
Terrible Twins are around. 



Yvette Mimieux 


T his delightful, petite blonde actress has the kind of looks 

that made pr^ucer George Pal choose her for his “ girl of 
the future ” in the film of H. G. Wells’ famed story The 
Time Machine. (The above scene is from that film.) 

“ Yvette is a cross between a fairy princess and Brigitte Bardot,” 
says Pal. Which sounds to us a pretty good cross ! 

Yvette, a native of Los Angeles, has a French father and a Spanish 
mother. Her discovery for the films was unique, even by 
Hollywood standards. She was horse riding on the outskirts of 
Los Angeles when a helicopter with engine trouble set down in 
front of her. The pilot, press agent Jim Byron, forgot about his 
machine when he saw Yvette, and asked if she would like to 
make pictures. 

Well, that was the start. She entered for, and won, four major 
beauty contests and has delighted the M-G-M studio heads 
with her acting ability. 

For Miss Mimieux, the girl of the future, we predict a dazzling 
one in the world of films. 




To-day, the 
youngsters shown 
here are all top line 
stars . . . Can you 
identify them ? 

K you’re stumped — 
turn the pa^e 


Answers to Quiz on previous pages 

23rd August, 1912, at 
Pittsburgh, Pennsylvania. 
Hair, black ; eyes, brown ; and 
his height is 5 ft. 9 in. He was 
married to Betsy Blair and has one 
daughter, Kerry, bom in 1943. 
Was dance director of Billy Rose’s 
famous Horse Shoe Revue; made 
his film debut in For Me and My 
Gal. Among his other films: Les 
Girls and Singing in the Rain. 

20th July, 1938, in San 
1 Francisco. She married 
actor Robert Wagner 28th Decem- 
ber, 1957. Made her film debut as 
an “ extra ” at the age of four ; 
two years later won an American 
Box Office Award for her part in 
Tomorrow Is Forever. Most 
recent film : All The Fine Young 

Born 20th May, 1908, in 
Indiana, Pennsylvania. 
Hair, brown ; eyes, grey ; and 
his height is 6 ft. 3 in. In 1949 he 
married Gloria Hatrick McLean, 
and their twin daughters, Kelly 
and Judy, were bom in 1951. 
He won an Oscar as the best 
actor of the year in 1940. Two 
of his recent films : Anatomy of a 
Murder and The F.B.I. Story. 

Bora 29th July, 1924, in 
Los Angeles, California. 
He has auburn hair, brown eyes, 
and stands a shade over 6 ft. 
His two marriages ended in 
divorce. His first film appearance 
was a bit part in a film called 
A Walk in the Sun. He is best 
known in Britain for his role of 
Flint McCnUough in the TV series 
Wagon Train. 

6th February, 1941, in 
Los Angeles, California. 
Brown hair, hrown eyes. Made 
her film debut at the age of two 
in Madame Curie. Has a brother, 
known in films as Peter Miles. 
Gigi’s films include: Wild Heritage, 
The Man in the Grey Flannel Suit 
and There's Always Tomorrow. 

Bora 15th December, 
11918, in Brooklyn, New 
York. Real name is Ira Grossel 
and he stands 6 ft. 4 in. His 
marriage ended in divorce and 
he has two daughters, bom in 
1947 and 1949. Was a radio 
announcer before getting his 
chance in films. Two of his best 
known are : Ten Seconds to Hell 
and The Jayhawkers. 

Born 23rd September, 
1 1921, in Brooklyn, New 
York. His real name is Joe Yule 
and he has been married five 
times and has four children. 
Made his stage debut at eleven 
months in his parents’ stage act. 
Made a string of Andy Hardy 
films and has recently been seen 
in The Big Operator. 

Born 24th February, 1914, 
in Austin, Texas. He is 
6 ft. 1 in. tall and has dark brown 
eyes ; has been married twice 
and has two daughters . . . one of 
them adopted. He worked his 
passage on a cotton boat from 
New Orleans to England and made 
his acting debut at Bath. He 
returned to America and has 
appeared in many films. 

Bora 14th December, 1938 
at Morecambe, Lanca- 
shire. As a child she appeared in 
many well-known Briti^ films, 
making her film debut at the age 
of four. Her mother is Thora 
Hird, the character actress. 
Janette married Canadian singer 
Jackie Rae in 1959. Her films 
inclnde : The Good Companions 
and School for Scoundrels. 

I Bom 11th June, 1919, in 
Dublin. He has dark 
brown hair, green eyes and is 
5 ft. 10 'n. tall. In 1949 he 

married Catherine Bogle and 
they have two children : a boy 
and a girl. He made a great 
success in the film The Hasty 
Heart, and since then has been 
a consistent top performer in 
British films. 



^nKfrs ^orm 

Norman with his ton Nicky and daughter Jackie give a wel- 
coming smile from the gate of their Sussex home 

. . . and here is his wife Freda. They'll celebrate their twelfth 
wedding anniversary in October 


(1) Norman Wisdom 

O FF duty for Norman Wisdom means those 
rare, precious horn's — ^usually on a Sunday 
— spent with his wife Freda and their two 
children Nicholas and Jacqueline at their charming 
15th Centmy house near Pulborough in Sussex ; 
a house in which Ann of Cleves is reputed to have 
lived ; a grand, spacious residence of wide, open 
fireplaces and magnificent oak beams. Norman 
and Freda have gone to much trouble to see that 
their furniture blends in with the authentic period 
atmosphere. Just behind the house stands a 
stately windmill and all around are fine lawns, neat 
hedges and banks of flowers. It’s a far cry indeed 
from the cramped quarters of their caravan home 
of a few years ago. 

Norman and Freda wiU be celebratmg their 

twelfth wedding anniversary this October and their 
wish is to spend it together, something they’ve 
rarely been able to do in the past because Norman 
has always been working. 

The Wisdoms have worked hard for their 
success and theirs is one of the happiest marriages 
in show business ; a partnership that has stood 
the test of poverty and career frustrations. And 
among all their present splendour is a reminder 
of the past ; in a wardrobe, among many fine 
expensive clothes, is a threadbare, moth-eaten 
apology for a suit . . . it’s Norman’s original 
“ gump ” suit, an essential part of the character 
which first brought him success. That suit cost 
him 30/- and he’s had it copied many times. 

He will never throw it away. 



we introduce TOb to some 
of the lovehest ladies appearing on tbt big 
^reen. The majority are well IcnoW a few are 
just edging into the big-type credit ... all 
are talented. They come from maaorjountries : 
Britain, France, Italy, America and Ijiuel 
and their appeal is imiversaL We s^te them’ 



.-V , 


'il'i i'm I' 

'I jiit!r*»**i, .'"Hii,,, 


Reading time with daughter Cordelia 

Her art collection all English; all alive 






Yvonne Mitchell 

I N films, on TV and the stage, Yvonne Mitchell 
is usually presented to her public as an 
unhappy, frustrated or dowdy woman ; a 
woman without hope ; a depressing character to 
shy away from. 

In real life she is the complete opposite. She is 
highly intelligent and happily married to drama 
critic Derek Monsey ; they have a delightful 
daughter named Cordelia, a bulldog Burbage, and 
live in a Mayfair maisonette. It’s a residence so 
surrounded by parking meters that they couldn’t 
park their own car. So they sold it and have to 
use taxis to get around. 

Over the past few years Yvonne Mitchell has 
won many awards for her acting and these trophies 
are proudly displayed in her beautiful lounge ; 

there’s a Silver Heart given her by the Variety Club 
of Great Britain for her performance in Woman 
in a Dressing Gown. For this film she was also 
awarded the Berlin Bear (the German Oscar). On 
view too, a Wedgwood Blue Plaque, awarded her 
by the British Fihn Academy in 1954 for The 
Divided Heart. From TV a miniature silver TV 
set ; she was voted TV Actress of The Year in 1953. 

Yvonne Mitchell never relaxes in the true sense 
of the word. When not actiiig, she writes plays, 
novels and articles. If all this activity builds her 
up as a frantic career woman it is misleading. She 
works because she can’t bear idleness. 

Her husband says : “ She never craves for 

anything. She accepts what’s there and enjoys it. 
But she is never wanting what she hasn’t got ! ” 



And in the coming months 
it’s going to release some 
exciting films 

H ollywood has turned the corner. Every 
major studio in Hollywood will release 
more films this year, made at higher cost 
and offering better entertainment than in the past 
few years. 

“ The statistics and the prophets are finally 
admitting what a lot of us have known all along,” 
remarked Harold Mirisch, President of MIRISCH 
COMPANY, Hollywood’s foremost independent 
film-making organisation. 

“ People like good movies,” he explained. “ It’s 
that simple. They also may like television, bowl- 
ing, football, or card playing. But when a good 
movie appears, people usually manage to break 
away from their other leisure-time activities long 
enough to see that movie. 

“ A few years ago we were told that we were 
out of business. Now the attendance figures 
consistently rise, and the world audience waiting 
for the right movie is almost beyond belief. 

“ Not just any movie . . . because that sort of 
entertainment is still being made and seen free of 
charge on television . . . but good movies.” 

The MIRISCH COMPANY releases its films 
through UNITED ARTISTS. Their last two 
pictures were The Horse Soldiers and Some Like 


It Hot. Many of the Some Like It Hot talents 
are blended again in The Apartment, the latest 
MIRISCH picture with Billy Wilder again pro- 
ducing and directing. Jack Lemmon stars with 
Shirley MacLaine and Fred MacMurray in a 
I comedy-drama in the Chaplinesque vein. 

This is the first film of a two-year programme 
which will venture close to £18,000,000. The 
Magnificent Seven, produced and directed by 
John Sturges, has Yul Brynner, Eli Wallach, 
Steve McQueen and Horst Buchholz in the 
starring roles. This large-scale outdoor drama, 
shot entirely in Mexico, is followed by West Side 
Story, the great musical-drama, which Robert 
Wise produces and directs. 

Two For The See-Saw stars lovely Elizabeth 
Taylor in late 1960, while James Michener’s 
enormous best seller Hawaii awaits filming in 
mid-1961 by producer Fred Zinneman. 

Also part of the two-year plan are James Gould 
Cozzen’s By Love Possessed, John O’Hara’s A 
Rage To Live, and Haunting Of Hill House and 

minimum of 35 top budget pictures in 1960 at a 
total cost of over £25,000,000 — an all-time record 
expenditure. Many of these films will be released 
in 1961. To mention a few : The Story Of Ruth; 
Let's Make Love, starring Marilyn Monroe, 
Yves Montand, Tony Randall and Frankie 
Vaughan ; Requiem For A Nun, by Nobel prize 
winner William Faulkner ; High Time, starring 
Bing Crosby, Fabian, Carol Lynley, Simone 
S iGNORET and Barrie Chase ; Conan Doyle’s 
The Lost World ; Mount Olive ; Cleopatra, with 
Elizabeth Taylor in the title role; Rodgers and 


Hammerstein’s State Fair , and Terence Rattigan’s 
O Mistress Mine, with Elvis Presley starring. 

METRO-GOLDWYN-MAYER, with its 1960- 
1961 production and release schedule well under 
way, is headed for one of the busiest years in 
its long history. 

Three films which will first reacn the screen are 
Cimarron, starring Glenn Ford, Maria Schell, 
Anne Baxter ; Butterfield 8 co-sizxnng Elizabeth 
Taylor, Laurence Harvey and Eddie Fisher ; 
Go Naked In The World, starring Gina Lollo- 
BRiGiDA, Ernest Borgnine, Anthony Franciosa. 

“ Creative manpower at the studio,” said studio 
head Sol C. Siegel, “ stands at a record high today.” 

Among the films now in active preparation is the 
first “ story film ” to be produced in Cinerama. 
This revolutionary process will be used for 
Charlemagne, a spectacular, action-filled romantic 
drama about that great medieval figure. It will 
be filmed in colourful foreign locations. 

The Four Horsemen Of The Apocalypse is being 
planned on a massive scale ; The Travels Of Jamie 
McPheeters, Robert Lewis Taylor’s Pulitzer Prize- 
winning novel ; Mutiny On The Bounty to be 
filmed in authentic South Seas locations, from the 
screenplay by Eric Ambler which combines the 
most exciting elements of the two complementary 
romantic novels by James Nordholf and Norman 
Hall ; Mutiny On The Bounty ; and Pitcairn Island. 

It will be photographed in the Camera 65 process 
used so spectacularly in Ben-Hur. 

Also coming are Two Weeks In Another Town, 
a recently published novel which has been receiving 
wide critical acclaim ; Lady L., starring Tony 
Curtis and Gina Lollobrigida, based on the best- 
selling novel by Romain Gary and to be directed 
by George Cukor ; Where The Boys Are ; Ada 
Dallas ; The Golden Fleecing, based on the hilarious 
Broadway success. 

To round off this list of major productions will 
be three other important projects : Sweet Bird 
Of Youth, an enormously successful Tennessee 
Williams play, now in its second year on Broadway; 
Bachelor In Paradise, starring Bob Hope ; Thy 
Will Be Done, Arthur Wilson’s dramatic novel. 

Motion picture making has become a global 
venture, the chief purpose being to have authentic 
scenery when a film requires such. 

Hollywood has the “ know-how.” Producers 
send advance guards of top cameramen, techni- 
cians and research men familiar with a particular 
country. Millions of dollars worth of equipment 
are flown to these locations. Teamwork and 
efficiency are most essential in these ventures which 


absorb fabulous sums, quite apart from high 
salaries paid to stars. 

Stanley Kramer, independent producer, who 
releases films through UNITED ARTISTS 
scored a spectacular success with On The Beach, 
made in Australia. He also produced and directed 
Inherit The Wind, starring Spencer Tracy, 
Fredric March and Gene Kelly. Kramer 
announced the purchase of film rights to Judgment 
Of Nuremberg, by Abbe Mann. The story concerns 
the inner confficts of a small-town Vermont judge 
selected by the War Department to preside at the 
trial of Nazi leaders at Nuremberg. 

Kramer hopes to cast Spencer Tracy as the 
judge and to have Maxindlian Schell recreate his 
American TV role as the defence attorney. 

The KRAMER company also owns ^m rights 
to My Glorious Brothers, the Howard Fast novel 
dramatising the Maccab^ns’ fight for freedom 
in ancient Israel, and Invitation To A Gunfight. 

About £7,000,000 worth of new film product 
released in 1960-61, Roy O. Disney, president of 
the company, announced. 

Following Toby Tyler, starring Kevin Corcoran 
and the lively Chimp, Mr. Stubbs ; The Big 
Fisherman, starring Howard Keel, Susan Kohner, 
John Saxon and Martha Hyer ; Pollyanna, 
starring Jane Wyman and Richard Egan, Hayley 
Mills, Karl Malden, Nancy Olson, Adolphe 
Menjou ; and Swiss Family Robinson, starring John 
Mills, Dorothy McGuire, James MacArthur, 
Janet Munro, will be Jungle Cat, a full-length 
True-Life Adventure Feature. 

The lOI Dalmatians will be Disney’s animated- 

cartoon feature. Based on the novel by British 
authoress, Dodie Smith, this hilarious tale of the 
canine set will be completed by late 1960 after 
three years in production. 

Scheduled for production in 1960 is the hilarious 
comedy The Absent-Minded Professor, starring 
Fred MacMurray, which looms as a worthy 
successor to The Shaggy Dog. 

In pre-production stage is Disney’s forthcoming 
filming of the famed Victor Herbert operetta. 
Babes In Toyland. This motion picture will mark 
the producer’s initial effort in the musical comedy 
field. Toy sequences will involve a new approach 
to animation, called “ animotion,” which employs 
the use of toys, mechanised and photographed in 
stop-motion. The major portion of the story will 
involve live action. 

Samuel J. Briskin, vice-president in charge of 
West Coast activities for COLUMBIA PICTURES 
CORPORATION said, “ We have heard the cry 
of ‘ Give us new faces,’ and I am glad to report 
that we now have under way the most extensive 
programme to develop new personalities, whom 
we feel confident will become box office names. 
These young players are being integrated into 
important pictures and will be given increasingly 
important roles as their progress develops. Typical 
of the youngsters we feel are potential stars are 
Michael Callan, Glenn Corbett, James Darren, 
Jo Morrow and Victoria Shaw.” 

In addition to 40 films which will be released 
in 1960-61 Briskin also stated that COLUMBIA 
has several dozen properties which are now in 
various stages of preparation by the studio and 
independent producers. These properties include : 
Here Come The Brides, A Raisin In The Sun, The 
Jimmy Durante Story, Roar Like A Dove, The 
Bridge At Remagen, Mystery Island, Time Of The 
Dragons, Nine Coaches Waiting, The Fanny Brice 

CONTINUED overleaf 


Story, Lawrence Of Arabia, Return Fare, Baa- Baa 
Black Sheep, and That Hill Girl. 

Audiences are coming back to the cinema screen 
and big colour films. John Wayne, under his 
own banner, BATJAC PRODUCTIONS, invested 
over £4,000,000 in the epic story of The Alamo, a 
Todd- AO presentation to be released through 

Long a box office favourite, he stars in The 
Alamo as Colonel David Crockett. In addition 
to producing, Wayne is making his debut as a 
motion picture director. To direct this film has 
been the consuming ambition of his career. 

“ The Alamo will measure up as the greatest 
picture with a major American theme since Gone 
With The Wind," said Wayne. 

The Alamo is not just a Texas picture. The 
Alamo has become a shrine of self-sacrifice and 
raw courage and the battles of The Alamo are 
known to every American schoolboy. The time 
was 1836, The place was San Antonio de Bexar, 
a sleepy southern Texas community, that, for 

geographical reasons, had been the centre of 
Texas’ fight for independence against the military 
tyranny of Mexico’s president-dictator. General 
Antonio Lopez de Santa Anna. 

Thus, The Alamo is a universal fight for freedom 
picture, with some of the rawest, bloodiest and 
most savage adventure action ever shown on the 

Wayne is satisfied with his work. In his own 
words, “ This story is going to shake hell out of 
theatres all over the world.” 

Co-starring with John Wayne is Richard 
W iDMARK in the role of James Bowie, the famed 
frontier fighter. One of England’s most exciting 
young stars, Laurence Harvey portrays Col. 
William Barrett Travis, the strait-laced South 
Carolina colonel who commanded the Alamo 
garrison. Others in the cast : Franrie Avalon, 
Linda Cristal, Pat Wayne, son of the producer- 
director-star, and Joan O’Brien. 

ALLIED ARTISTS has one of the top budget 
pictures. It’s Hell To Eternity, with Jeffrey 
Hunter starring in this true story of U.S. Marine 
hero Guy Gabaldon, who won the Silver Star 
Medal for single-handedly capturing over 1,000 
Japanese prisoners during the fighting on Saipan 
and Tinian. Vic Damone, singing star, will have 
his first straight role in the same type of part that 
boosted Frank Sinatra to top acting rank in 
From Here To Eternity, with Sessue Hayakawa 
as the Japanese commandant on Saipan in a co- 
starring role. 

One of A.A’s biggest films is Marco Polo. 
Production in CinemaScope and colour will be 
on location in Kashmir and Baroda in India, as 
well as Malaya and Hong Kong. Director Billy 
Wilder also plans to shoot in Venice, home of the 
famed traveller and adventurer. 

Spartacus, a multi-million-dollar Bryna produc- 
tion for UNIVERSAL, co-stars Kirk Douglas, 
Laurence Olivier, Jean Simmons, Tony Curtis, 
Charles Laughton, Peter Ustinov and John 

Although filming took place on the UNI- 
locations, Stanley Kubrik, the director, went to 
Spain to shoot the battle scenes between the Roman 
forces and the slave-gladiators’ army. 

Cavalry and infantry units of the Spanish Army, 
totalling 8,800, were used to perform the classic 
manoeuvres of Roman cohorts. 

Come September, to be filmed by SEVEN 
PICTURE CORPORATION in association with 
Rock Hudson’s first independent venture and he 
will have as his co-star Gina Lollobrigida in a 
comedy about a wealthy American playboy and 
an Italian beauty. The picture is to go before the 
camera late summer 1961. 

Hollywood is still a wonderland ... and the 
motion picture industry is proud of it. 



Personality , « . Personality 



Some stars 
have it . . plus ! 

They ensure a 
show’s success. You’ll 
meet five with 
the neon quality. 

You may love them, 
you may loathe them 
. . . you can’t 
ig^nore them ! 



What Mn you say about M. M. that hasn’t 
already been said ? She’s blonde, she’s 
beautiful and, surprise, she’s talented. We 
guess you just want the facts, so here they are. 















REAL NAME : Norma Jean Baker. Her change 
of name was suggested to her by Ben Lyon, who 
had a big hand in helping her to get started on her 
film career. Ben didn't think much of the name 
Norma Jean Dougherty (Marilyn had married and 
divorced James Dougherty by then), so Marilyn 
suggested the name Jean Monroe. But Ben 
thought she bore a strong resemblance to Marilyn 
Miller, the beautiful film and musical comedy star ; 
so Norma Jean Dougherty, nee Baker, became 
Marilyn Monroe. 

BORN : 1st June, 1926, Los Angeles, California. 
HEIGHT : 5 ft. 5^ ins. 

WEIGHT ; A beautifully distributed 1 18 lbs. 
HAIR : Blonde. 

EYES : Blue. 

MARRIAGES : James Dougherty, now a police- 
man, 19th June, 19-42. Divorced, 1946. 

Joe Di Maggio, baseball player, at City Hall, San 
Francisco, 14th January, 1954. Divorced, October 

Arthur Miller, the famous playwright, June 1956. 

FILMS : The list is too long to mention them all, 
but she got her first credit in the 1948 release 
Dangerous Years. Latest are Some Like It Hot, 
Let's Make Love, The Misfits. 









MONROEISMS : Marilyn is renowned for 

remarks that make a journalist’s job a joy. Re- 
marks like “ Sex is a part of nature. I’ll go along 
with nature ” ; “ Men don’t jump hurdles fof 

girls who wear girdles ” ; on the subject of her 
famous wiggle, she said, " I started walking when 
I was nine months old. I’ve been walking ever 
since, and I’ve never had a lesson.” Asked if she 
always has her mouth open because she’s nearly 
always photographed that way, she said, “ Yes. 
I even sleep with it open. I know, because it's 
open when I wake up.” 

VITAL STATISTICS : The most vital is 36i ins. 
The others are : Waist, 23 ins. ; hips, 36 ins. 
Incidentally, who decided that vital statistics were 
vital I 














In “Some Like It 
Hot ” the plonked 
the ukulele and had 
a hip flask strapped 
to a garter. Right : 
In “ The Seven 
Year Itch “ she had 
no uke and no 


All done up for 
the ball in “ The 
Prince and the 

Below ; rehearsal 
togs for “ Let’s 
Make Love " 

In Jailhouse Rock 
nothing was barred 

Elvis the tender 
boy friend in 
** Loving You ** 




'* The Sock ’n* Soul of Rock *n’ Roll.** That’s 
just one of the titles Elvis Presley has picked 
up in the four or five years he has been a top 
recording artiste. Here are a few more facts. 






















FULL NAME : Elvis Aron Presley. 

HEIGHT : 6 ft. 0 ins. 

HAIR : Brown. 

EYES : There seems to be a dispute about this. 
His official biography says they're blue, but some 
people who have met him say they’re green-grey. 
Anyway, who cares ? It’s the way he uses them 
that sends the fans. 

PARENTS : Vernon Elvis, who’s nearly as good- 
looking as his famous son. Elvis’ mother, the 
former Gladys Smith, died just before her son left 
for Germany in 1958. 

BORN : 8th January, 1935, Tupelo, Mississippi. 
GOLDEN DISCS : There are so many of ’em, I 
don’t think even Elvis could name them all. 
Anyway, here goes : Heartbreak Hotel ; Don't 

Be Cruel backed with Hound Dog (this coupling sold 
over three million, and both sides were equally 
popular) ; Blue Suede Shoes ; I Want You, I Need 
You, I Love You ; Love Me Tender, which sold a million 
before it was even released ; All Shook Up ; I Love 
You Because ; Too Much ; Love Ale ; You’re a 
Heartbreaker ; Any Way You Want Me ; Jailhouse 
Rock ; Wear My Ring Round Your Neck ; Teddy 
Bear ; Loving You ; One Night ; etc., etc. 

ARMY SERVICE : 2dth March, 1958, was the 
date when Elvis’ fans everywhere went into 
mourning. They brightened up a bit, though, 
when their boy became a Private First Class, which 
is the equivalent of a bombardier, then a corporal, 
then a sergeant. Good job he didn’t become a 
General, or his manager. Colonel Tom Parker, 
might have felt a trifle embarrassed. El was 
demobbed 5th March, I960. 

FILMS : Love Me Tender; Loving You; Jailhouse 
Rock ; King Creole ; G.l. Blues. 

FANS : They’ve broken windows, climbed fire 
escapes, terrorised hotels, scratched their idol’s 
back from shoulder to waist in a mobbing, written 
loving messages in lipstick on his car, screamed, 
fainted, flooded film studios with ’phone calls, 
practically had the hotels he’s stayed in held in a 
state of siege and turned up at unearthly hours of the 
morning in lousy weather to sob and sigh as he went 
into the army, all just to prove their love for El. 
GIRL FRIENDS : Let’s just say he’s not exactly a 
woman hater. 

LOLLY : Nobody knows exactly how much Elvis 
is worth, probably not even Elvis, but he’s certainly 
not broke ! 


































“ The Sex Kitten,” “ The Gorgeous Peke,” 
** France’s Most Valuable Export ” ; these 
expressions and several others (like ” Wow ! ” 
for instance), have been used to describe 
Brigitte Bardot, the girl who declared ” If 
Monroe shows more than I do. I’ll die,” 
before a Royal Command Performance at 
which both pin-up queens were present. 

Here are some facts about Brigitte. 

BORN : 28th September, 1934, in Paris. 

HAIR : Auburn. 

EYES : Dark brown. 









☆ HEIGHT : 5 ft. 0 ins. 


MARRIAGES : Roger Vadim, October, I9S2. 

Divorced, 6th December, 1957. Jacques Charrier, 
18th' June, 1959. 

She and Charrier have one son, Nicolas, born 12th 
January, I960. 






FILMS : The first to be released in England was 
Act of Love in 1954. Since then, there have been 
about a dozen, with provocative titles like 
Mam'selle Striptease and Love Is My Profession. 
Babette Goes to War was notable as the first big 
film in which Brigitte did not take off her clothes. 




yy BRIGITTE LIKES : Dogs, baby monkeys, sun, 

^ money (don't we all ?), birds, the sea, flowers, 

grass, mice, kittens, period furniture, Tchaikovsky, 
Mozart, blues, Beethoven. 







BRIGITTE DISLIKES : Brigitte, as the public 
sees her. ” This Bardot I have created is a 
monster,” she once said. " She is not me. I do 
not know what I will do about her.” 

Girls who mimic Bardot. ” Everywhere I go, I 
see girls who dress like Bardot, pout like Bardot, 
walk like Bardot, do their hair like Bardot. This 
mimicry does not flatter me.” 

Making films. ” I don’t enjoy filming as much as 
one should enjoy one's work.” 





^ VITAL STATISTICS : 36-20-36. 


★ ☆ ★ ☆ ★ 
























it was a nippy day in September, 1958. I was 
sitting in an office just off Piccadilly. Sitting 
opposite me was a very good-looking boy of 
17. He had just made his first record, and 
was thrilled because it had gone into the Top 
Thirty at number 27. By the time I had had 
my interview with the boy published in 
PICTURE SHOW, the disc had zoomed to 
second place in the charts. It was one of the 
most fantastic successes in British show 
business. The record— Move It. The boy— 
Cliff Richard. 

Here, to keep Cliff’s many fans happy, are a few 
facts about the golden boy of British discs. 
REAL NAME : Harry Webb. When Cliff 

started in show business, he and his friends got 
together to pick a suitable name for him. Several 
were suggested, Russ Clifford, Dean Richards, 
until, by a process of elimination, they decided on 
Cliff Richards. Then Cliff decided to knock the 
" s ” off the surname to make it more distinctive. 
HEIGHT : I could only discover from his agents 
that he is " about 5 ft. 10 ins.” Apparently he 
hasn’t had time to get himself measured lately. 
HAIR : Dark brown. 

EYES : Very dark brown, almost black, and quite 
hypnotic. Says Cliff, ” When I go on stage, I fix 
my eyes on the audience. That gets them going.” 
PARENTS : Dorothy and Roger Webb. 

BORN : 14th October, 1940, Lucknow, India. 
GOLDEN DISCS : Livin’ Doll is the only one so 
far, but there’ll be more, sure as I960 was Leap 
Year. The funny thing about Livin' Doll is — Cliff 
hated it ! He didn’t want to record it. When it 
went into the Hit Parade, he wondered what had 
hit him. After it had sold a million, he decided 
that he quite liked it. Incidentally, he didn’t like 
the E.P. of songs from Expresso Bongo, either. 
After hearing it for the first time, he rang his 
recording company and told them he thought the 
disc was horrible. It sold 30,000 copies in ten days. 
GIRL FRIENDS : Poor old Cliff. He can’t have 
any. Says his fans wouldn’t like it. 

L.S.D. : He earns plenty, but allows himself only 
£10 a week. ” That’s ample,” he says. ” I don’t 
smoke, I don’t drink, and I can’t go out with girls. 
So what is there to spend it on f ” I’m sure I 
could think of something. 

FANS : They’ve parcelled themselves up and sent 
themselves to him, hidden in his wardrobe and 
nearly suffocated, nearly fallen under the wheels 
of his car, had fire hoses turned on them, and 
showered him with presents. It’s nice to be 


In 1959 Cliff made 
his first film • • • 
** Expresso 
Bongo.** And it 
was something to 
beat the drum 






















With her looks, who needs talent T 
That’s what people in the American film 
business said about Sophia Loren. There 
was, however, one person who didn’t agree 
with their opinion. Sophia herself. She is 
determined to prove herself a really good 
actress, and described herself as being “ most 
gratified ” when she won the Best Actress 
award at the 1959 Venice Film Festival for her 
performance in The Black Orchid. 

Let’s take a look at the facts about Sophia. 
BORN : 20th September, 1934, in Italy. 

HAIR : Red-gold. 

EYES : Brown. 

HEIGHT : 5 ft. 8 ins. 

MARRIED TO : Carlo Ponti, by proxy, 17th 
September, 1957. 

REAL NAME : Sophia Scicoline. 

FILMS : Her first big part was in Africa Beneath 
the Sea. The part called for a girl who could swim, 
expertly. Sophia couldn’t swim, but said she 
could. When the time came for her to take the 
plunge, she took a deep breath, jumped in the 
water, and that was nearly the end of the Loren 
career. Fortunately, she was fished out in time, 
and the sight of Sophia’s statistics encased in a wet 
bathing costume so bemused the director, he let 
her keep the part and hired a double to do the 
swimming sequences. 

Other Sophia epics have included Nea/>olitan 
Fantasy, Too Bad She’s Bad, Boy on a Dolphin, House- 
boat, Cold of Naples, Heller in Pink Tights. 

LINES ON LOREN : Sophia is still very shy, 
especially of being interviewed and starting on a 
new film. “ I began my screen career for the 
money,” she has said, “ but my first screen role 
convinced me that money isn’t everything. I 
had to fight down an absolute mania to run away. 
I didn’t only because I felt ashamed to break a 
promise. Then, in the excitement of working on 
my first picture, I forgot how frightened I had 
been. I agreed to do another film. Then I 
wanted to run away again, but couldn’t. This is 
the story of my life.” 

Gradually, Sophia is getting over her shyness, and 
acting helps. Her part in Heller in Pink Tights, 
for instance, was, she says, " The best cure in the 
world for shyness.” 

In this film she played a bold, scheming actress 
who always gets what she wants. Sophia rides a 
horse in the film, and to the surprise of many of her 
friends, she did all the riding herself. 

” What’s surprising about that ? ” asked lovely 
Loren. “ Why should I be shy with horses ? They 
take me as I am.” 














I T was only two or three years ago that many 
people were predicting : “ British films have 
had it ! ” 

But look at the position today ; never has the 
British film industry stood higher in world ranking 
— we’re making bigger pictures, better pictures. 
Of course, the studio set-up has changed. 

Many of the old production companies are now 
no more — but many new ones have begun, such as 
Beaver Films and Allied Film Makers. Some are 
run by stars themselves. The Angry Silence, for 
instance, was made by Beaver Films, which is 
composed of Richard Attenborough and Bryan 
Forbes. And League of Gentlemen was produced 
by Allied Film Makers, which consists of Jack 
Hawkins, Richard Attenborough, Bryan Forbes 
and Michael Relph, producer, and director Basil 
Dearden, the team which produced The Blue Lamp 
and Sapphire. 

Laurence Olivier, as is well known, has made his 
own films, and Stanley Baker plans to star in his 
own Cambria production of No Trams to Lime 
Street, which was voted the best TV play of 1959. 

Shepperton Studios are mostly used by these 
independent companies. And when I went there, 

; The Grass is Greener was being made. I went 

there on the second day of production and there 
I was still that feeling of jittery apprehension swath- 

ing the entke company — all except Cary Grant 
and Debordn Kerr, who both seemed completely 
1 cool and collected. 

I I went along to Deborah’s portable dressing 

room and found her making tea for Cary Grant, 
tall, cheerful and completely at ease. Cary Grant 
seems to look younger and have more well- 
controlled energy every time I see him. Like a 
perfect gentleman he bowed himself out — after a 
touching and hearty embrace of Deborah. 

“ It’s all right, she’s my wife,” he assured me and 
went in search of tea elsewhere. So I had Cary 
Grant’s tea with lemon in it, as Deborah likes it. 
And what did we talk about ? Stomachs ! 


. . and some 






and Coming Girls and Boys ^ 





From what I heard, I gather that the doctor who can 
cure a queasy stomach caused by nerves — although 
stars put this down to anything else — will make his 

From stomachs we slid round to film making, 
and from the stars and director I got the impression 
that much as they like making films in England, 
they preferred Paris — the hours are much better. 
No early rising before dawn, for the studios there 
do not open so early. 

“ N^dday to seven or eight ! ” sighed Cary 
Grant nostalgicaUy ... he had popp^ in again 
for a few moments. 

I watched them rehearsing a little piece of work 
on the stairs — probably a minute's screening time. 
It took two hours before the director was satisfied 
with it ! 

Shepperton Film Studios are situated 17 miles 
from the centre of London and the studios are in 
beautiful grounds extending to 75 acres with 
lawns, gardens, a river, a large “ lot ” with made 
roads, water and electricity laid on. The history 


of Littleton Manor, as it was first known, goes 
back to the 11th century. 

Since the war many noteworthy films have been 
made here, including A Man About the House, 
The Courtneys of Curzon Street, Anna Karenina, 
Britannia Mews, The Black Rose, The Mudlark, 
Pandora and the Flying Dutchman and I'm All 
Right, Jack. 

100 Active Acres 

Pinewood Studios, like Shepperton Studios, are 
built round an old house once Imown as Heatherden 
Hall, Iver Heath, Buckinghamshire, which was the 
home of K. S. Ranjitsinhji, the famous cricketer. 

Now it is nearly 100 acres of bustle and activity 
where films are made, post-synchronised, cut and 
edited. It was opened in 1936 and the first man to 
film there was Herbert Wilcox, who finished 
London Melody — with Anna Neagle. 

Much has happened since then and many famous 
stars have been seen there, including Gregory Peck, 


Michael Redgrave, Alec Guinness, Laurence 
Olivier, Kenneth More and Marilyn Monroe — for 
this is the studio from which has come such films 
as The Importance of Being Earnest, Genevieve, The 
Kidnappers, Reach for the Sky, The Battle of the 
River Plate and Doctor in the House, the fourth of 
this series. Doctor in Love, having just finished 
before I called there. Sons and Lovers and The 
Singer Not the Song. 

When I went, Mai Zetterling was starring with 
Terence Morgan, Yoko Tani, William Hartnell, 
John Crawford and Dennis Price in Piccadilly 
Third Stop, having recently made Faces in the Dark 
there, with John Gregson. She is most intelligent 
as well as being beautiful, with extraordinarily 
lovely eyes. 

She would like to direct and confessed to me that 
in fact she has done so. She spent seven or eight 
weeks in Lapland making a film, her headquarters 
being in a little village called Yokmok. 

She was staying in London while making 
Piccadilly Third Stop, but she does not like it. 


She much prefers going home each day — in 
Hampshire — after filming because she says it is the 
one place where she can really relax. 

In Sweden she recently made a film, a take-off 
of Ibsen, which, as she says, proves that Swedes 
are not as dour as we think ! 

If you go north-west of London, you come to 
Elstree in Hertfordshire. This has several studios, 
including M.-G.-M. and Associated-British-Pathe. 
The latter studios were built in 1927. Today they 
comprise six sound stages with twenty acres 
available for exterior sets. 

Nothing is too large or too small to be built 
either for location or for the stages, from a sultan’s 
palace to a suburban dance hall — or a complete 
African village, which was what I saw when Sands 
of the Desert was being made there. 

This was Charlie Drake’s first film under the 
six-picture contract he signed with Associated 
British Picture Corporation, and co-starring with 
him were Peter Arne and lovely newcomer Sarah 
Branch, who made such an impression as the deaf 
and dumb girl in Hell is a City. 

When I met him, chubby Charlie was looking — 
and feeling — glazed. His khaki shorts and jacket 
were somewhat' eggbound, the result of jumping 
on to some 700 eggs earlier that morning. When I 
asked him whether he had learned how to fall, he 
said, “ I aim, I dive and I ’ope ! ” Luckily the 
eggs had been fresh ! 

Charlie lives in a riverside house at Weybridge 
with his wife and three children. 

“ Isn’t it funny — I’ve been all my life without a 
house and now I’ve got it I’m never there because 
of all the work I'm doing ! ” he said. 

Charlie was living in a couple of rooms im- 
provised for him above the studio offices, for he 
found it impossible to get home to Weybridge 
each day since he was working until one or two 
every morning hammering out new ideas. In these 
rooms I listened to a recording of the charming 
little lullaby he sings in Sands of the Desert. 

Other films made at Elstree Studios include 
Bottoms Up, Follow That Horse and School for 

And the Future? 

There are films studios also at Co. Wicklow in 
Eire, Twickenham, Beaconsfield, Windsor, Merton 
Park and Walton-on-Thames. 

At many of these studios TV film series are 
made — Interpol at Pinewood, for instance. Many 
other film studios have been taken over by TV — 
including Hammersmith, Shepherds Bush, Southall 
and Teddington. 

Whether films are made for extra large or 
extremely small screens, in colour or in black-and- 
white, for showing in public or at home, they will 
be made in British studios to the best of the con- 
siderable abilities of each one of the studio teams 







E verybody loves Mr, Magoo the cartoon 
character — he’s the little man who always 
makes big mistakes. A near-sighted re- 
tired banker, age has not brought him wisdom 
and usually he bungles his way through life 
although somehow, whatever horrible misad- 
ventures have befallen him, he comes out on top. 

Jim Backus is the American actor whose voice 
supplies life and personality to Magoo. He 
describes him as “ the pompous little business man 
rather the equivalent of England’s Colonel Blimp.” 
Backus will tell you that anyone can submit a 
story for the Magoo cartoons and that “ I do the 
voice first then the film is made later.” It seems 
he can record the voice anywhere — sometimes does 
so in his bedroom — and rarely sees the completed 

“ Very few people know that Magoo’s first name 
is Quincy,” he says. 

For himself Backus is “ happy and a little 
unhappy ” about Magoo. Happy financially — 
his bank is impressed — and unhappy because his 
own name, he will point out, carries little weight 
with people but he only has to say “ Mr. Magoo 
speaking” and he immediately achieves effect. 

Backus’ own life began in 1913 in Cleveland, Ohio. 
Apart from his versatility as an actor on radio, tele- 
vision (including the husband in the / Married Joan 
series and other shows), stage and in films, in 
Hollywood where he lives with his wife Henrietta 
(Henny) Kay he is known as a wit and gives out 
with many droll expressions. 

The Technicolor cartoons in which Mr. Magoo 
stars are made by United Productions of America 
and since the late 1940’s when the character was 
first formed there have been more than 50 short 
subjects and one full-length film — 1001 Arabian 
Nights. It took just over three years for the latter 
cartoon to be completed and it was based on the 
most popular of the Scheherazade tales, that of 
Aladdin and his magic lamp with Abdul Aziz 
Magoo as a lamp-seller of old Baghdad. 

Magoo’s scenes were evolved by the UPA staff 
who knew him best, therefore his reactions were 
quite routine, but the following will give you an 
idea of the gigantic task of making a full-length 

The movements of the individual characters are 
created by changing their position on stationary 
back^ounds. This illusion is accomplished by 
painting the characters on separate transparent 
strips of celluloid called “ cels.” More than half 
a million cels had to be inked and painted to com- 
plete the film which ran nearly an hour and a half. 



HITCH— He’fs I 

Hitch, physically at ease, mentally 
on the gui viVe, on the jetty at 
Cannes directing "To Catch a Thief" 

F or thirty-five years Alfred Hitchcock has been 
directing films and never has he made a 
real dud. 

Why is this ? It’s undoubtedly his approach to 
each film, his pioneering technique, his insatiable 
curiosity, his good memory and his brain teeming 
with ideas which are married to his artistic and 
engineering training which have brought this result. 

His prime requisite for a story is a blend of two 
things ; a single central idea which must never get 
out of the minds of the audience for one minute ; 
and the introduction of suspense, romance, drama, 
chance and emotion. 

“ I never read a book through if 1 am considering 
making a picture of it,” he says. “ If 1 do read a 
book through 1 get so saturated with the novel that 
I cannot discard easily what often must be discarded 
to make a real film and not a mere photographic 
reproduction of a book.” 

For instance, A Shilling for Candles, by Josephine 
Tey, a first novel, well and intelligently written, he 
made into a film — but of it he used only the first 
three chapters as a basis for the material for the 

“ I want the cutting and continuity to be as 
inconspicuous as possible and all 1 am concerned 
with is to get my characters developed and the 
story clearly told without any directorial idio- 

To achieve this he never forgets that he is making 
a moving picture. 

“ I like to keep the public guessing and never 
let them know what is going to happen next. I 
build up my interest gradually and surely, and in 
thrillers bring it to a crescendo. 

“ There must be no half-measures and I have to 
know where I am going every second of the time. 
If there is a secret in doing this it is perhaps in 
knowing your script off by heart. Then you know 
automatically the tempo of each succeeding scene 
and it matters not whether they are out of proper 

“ My artistes too must behave as human beings. 

“ Next to reality 1 put the accent on comedy. 
Comedy, strangely enough, makes a film more 
dramatic. In all my films I try to supply a 
definite contrast, to jolt cinemagoers in their seats 
with stories that move, with unexpected thrills, 
with comedy, with reality, with background that 
tells and finally with human beings.” 

He is a past master at applying thrills, for as he 
says, “ There is no terror in a bang — only in the 
anticipation of it. I learned that the hard way ! ” 

This spinner of yarns that have enthralled us 
from Blackmail, his brilliant first talkie made more 
than thirty years ago, to Psycho and No Bail for 
the Judge — what is he like ? 

He is a little tub of a man who is eternally 


I ll The Picture . . . 

battling with overweight. He has a double chin 
and a chubby face, in which two bright blue eyes 
are eternally stabbing, surmounted by receding 
black hair which is now turning grey. 

His weight varies considerably — between thirteen 
stone and twenty stone — and his clothes are made 
according to his various stages of corpulency and 
kept so that he is always adequately dressed. 

When he first went to America a legend arose 
about his beefsteak and ice-cream capacity which 
he now says was not quite true. 

“ I am not really a heavy eater,” Hitch says, 
” unless you mean that 1 am heavy and 1 eat.” 

15s. a week 

He was born in London in 1900 and by the 
time he was eight he had ridden to the end of 
almost every bus route in London. He still has 
a passion for travelling and as he despises exercise 
— which he says anyway is no good as a weight 
reducer — he has time tables from which he plans 
world-wide journeys. 

Leaving the University of London, where he 
studied art and engineering, he got afifteen-shillings- 
a-week job as assistant layout man in the advertising 
department of a London store. In 1920 he became 
a title writer with the London branch of an 
American film company and while here added 
symbolic drawings to titles. 

Through jobs of art director, scriptwriter and 
production manager, at last he became a director. 
And in 1926 he married his assistant director, Alma 
Reville, who stands 4 ft. 11 ins. tall. She still 
works with him on all his films as writer, adviser 
and general assistant. They live in Bel-Air in a 
modern hillside home particularly adapted to 
communal living, where as Hitch says, “We all just 
pig here together.” The family includes a married 
daughter, Patricia, a cocker spaniel and a Sealyham. 

By the way, for Psycho, the Hitchcock family 
were reunited professionally when Pat appeared in 
the film — her first role for her father since she 
appeared in 1949 in Strangers on a Train. 

As you may know, Alfred Hitchcock has a little 
p>ersonal trademark in his films — he appears in them 
briefly. When this began I can’t say, except that 
he appeared as a tube train passenger in Blackmail 
thirty years ago. He has appeared in all the films he 
has made for Paramount, Rear Window, To Catch a 
Thief, The Trouble With Harry, The Man Who 
Knew Too Much and Vertigo — and in Psycho he 
appears as a stroller who casts a disapproving 
glance at Janet Leigh when she rushes out of her 
office after stealing forty thousand dollars. 

Long may he continue to appear ! 

^ 1 

[ ^ 

Above : 

Described as ** our youngest director, Alfred J. Hitchcock,** 
he is seen at work 34 years ago directing The /Mountain Eagle/* 
The lady with the intent look is Mrs. Hitch and behind her is 
Malcolm Keen. Note the hand»operated camera! 

Below : 

Hitch prepares Janet Leigh for a scene in ** Psycho 


f3J Kirk Douglas 

O UR picture was taken on the set of Spartacus, 
a high-budget production even by Holly- 
wood standards — the film costing well over 
£3 million to make. Its star, Kirk Douglas of the 
dimpled chin, had a few hours between scenes and 
took his wife Anne and son Peter on a tour of 
inspection. Those travel posters brought back 
many happy memories for the Douglases ; they 
both know Europe very well. 

Kirk met Anne in Paris and they were married 
in Las Vegas, May 1954. Now they have two 
sons, Peter and Eric. Kirk also has two other boys 
by his former marriage to English-born Diana Dill. 

In their beautiful home in Beverly Hills the 
Douglases had an extra room built on to show 
Cinemascope. They don’t get around the swank 
nightspots, preferring to stay at home with their 
children, sometimes giving small parties for friends. 

By all accounts, marriage to Anne has done 
Kirk a world of good ; no longer is he the restless 
character who used to flit from one city to the next 
in search of “ life.” But Kirk is not too staid to 
make an occasional gamble. Take what happened 
in 1958. Remember his highly successful film 
called The Vikings ? Half-way through the mak- 
ing of it — by his own company — he had to find 
close on £1,000,000 to finish it. Kirk talked over 
the situation with Anne. To raise the money he 
would have to mortgage his house, his car and 
nearly everything they owned ; he even had to 
mortgage his services to a film company for three 

Well, the decision was made : take a chance. 
And the money was raised. The result you 
know : The Vikings was a tremendous hit. 

“ But had it been a flop I would have been 
finished,” says Kirk. 

Now, financially secure and with a happy 
marriage, what are Kirk Douglas’s other ambi- 
tions ? The winning of an Oscar ? Could he ? 
He has been nominated before : The Champion 
and The Bad And The Beautiful. But he didn’t win. 

He says now, perhaps to protect himself from 
the hurt and disappointment of being nominated 
again and not winning. “ I have not set my heart 
on winning an award.” 

Be that as it may, Kirk Douglas is one of the 
most proficient actors on the screen ; a man hked 
by his fellow actors. 

Add a happy personal life . . . and what more 
could he want ? 



RIGHT . . ! 

Some time ago we had an 
afternoon photo session with 
Peter Sellers when he wasn’t 
quite the star he is today. We shot 
him in a string of guises and we 
thought ** What a brilliant character 
actor he’ll make.” Well, he turned 
out to be just that, although, to our 
knowledge he’s never appeared, as 
we shot him that afternoon, in the 
film role of a rock *n’ roll singer. 
Perhaps, for some people, the 
character would be too close 
for comfort ! 









P ETER Sellers ceased to exist shortly after 
making a phone call in 1948. At that time 
he was an unknown, hard-up ex-R.A.F. man 
who was trying to land a job in show business. 
On an impulse he rang a variety producer at the 
B.B.C. and in the assumed accents of Kenneth 
Home (the “ Much Binding ” man, not the author) 
told the producer, in words something like this, 
“ I’ve just seen a frightfully brilliant chap . . . you 
must pop along to see him . . . name of Sellers.” 
The producer fell for the deception and, strangely 
enough, was not a bit annoyed when Sellers 
admitted the hoax just before ringing off. Peter 
Sellers was given his chance in a broadcast and 
from that minute he became the man who never 
was ; he lost his own voice . . . and he started to 
lose his own features. 

Now, twelve years later, Peter Sellers is firmly 
established as a number of people — of both sexes 
and varying nationalities — gathered in one body. 
Even when he was presented with the British Film 
Academy’s Award as Best British Actor of 1960 
by the Duke of Edinburgh, Sellers could not find 
his own voice to express his appreciation ; when he 
opened his mouth to speak out came the nasal 
tones of a teenage boy : “ I would like to say on 
behalf of my mum and dad that I am very pleased 
to return to the villas triumphant with the prize.” 
Let’s go back over the career of this composite 
and bewildering character. 1960 was easily his best 
year in films, delighting both public and critics in 
offerings hke The Mouse That Roared, Battle of the 
Sexes, Tm All Right Jack, and Two-Way Stretch. 

In the first-named film — also a great success in 
America — he took three roles : a glorious peach 
melba of a Duchess, a suave, charmingly con- 
tinental Prime Minister and a rather shy, 
inarticulate young man. For this last character 
Sellers assumed no make-up, hardly altered his 
voice. It’s the nearest he’s got to playing himself 
on the screen . . . and the character was generally 
thought to be the most uninteresting he’s ever 
portrayed ! A colourless, faceless man with no 
spark at all. Sellers as Sellers was a bit of a flop. 

Being “ faceless ” is something he shares with 
that other great actor Alec Guinness. Sellers admits 
he doesn’t know who he really is, underneath. 
Guinness is in the same quandary; he, too, doesn’t 
know his true identity. 

But perhaps it’s too harsh to say Sellers doesn’t 
exist at all. To his pretty ex-actress wife, Anne, 
he is alive . . . and his children occasionally see him 
at weekends. Anne knows him as a husband who 

rarely loses his temper at home, as a worrier, a 
perfectionist, a man always in a hurry, a man who 
wonders why the tulip bulbs he planted yesterday 
haven’t come up today. But Sellers the actor is 
hable to do battle with B.B.C., I.T.V., film com- 
panies, and Uncle Tom Cobley and all if their 
views don’t agree with his. 

Peter Sellers still remembers the American 
producer who said that he (Sellers) couldn’t speak 
Cockney, and that he (the American) would teach 
him. For the creator of the glorious “ Mate ” 
character, this was too much. He walked out of the 

Another of his pet hates : the long-run part. It 
would — and did — bore him stiff to go on stage 
night after night portraying the same character. 
In his West End venture Brouhaha there was a 
terrible brouhaha when Sellers decided to quit 
the show after seven months. He had had 

He tried to make the part different each night ; 
on one occasion when the audience was a bit duU 
he loped around the stage like Groucho Marx ; 




another time he got slightly tipsy, told the audience 
he was sloshed, and did they want him to appear ? 
They said yes and he played magnificently. 

Over the past few years Sellers has concentrated 
almost exclusively on his film career. When he 
started appearing in films his aim was : “ to become 
so successful that I can name the parts 1 want . . . 
and play them the way I want.” 

Probably it was The Naked Truth, in which he 
played six roles, which was the turning point in his 
film career. The public accepted “ Goon ” Sellers 
as an actor after this. He was in demand. The 
same film company that made The Naked Truth 
tried to rush him into another multi-role epic. 
Sellers said no. probably remembering Alec 
Guinness’s advice always to do something different. 

Sellers, having “ arrived,” was going to dictate 
the pace and plot the route he was to take from 
now on. 

☆ ★ ☆ 

At thirty-five he need never work again, could 
probably retire to that dream island he was so fond 
of a few years back when he was making only 
£17,000 a year. With probably double that 
amount now flowing into the Sellers account he 
finds that the dream island is rapidly fading ; he 
can’t slow down, finds it hard to relax. The 
treadmill’s turning faster. 

He lives in a ten-bedroomed mansion in Hert- 
fordshire and has a garage for two cars — his and 
hers. He has changed his car so often— he had 
owned 60 at the last count, ranging from bubble 
cars to Bentleys, some he kept o^y a few hours — 
that he has got around to changing hers. Sellers 
also loves electric trains, gadgets and photography. 

'k 'U 

He worries about everything : his looks — he 
reckons Spike Milhgan is much more handsome — 
his career, his popularity. Two bad films on the 
trot he reckons could mean the great British public 
forgetting him. 

It would appear that the next step in the Sellers 
career is to become internationally known. 
Already has a toe-hold in America but he’ll find 
the going tough. International stars are per- 
sonalities . . . easily recognised as themselves in 
whatever role they appear. . . like the Cary Grants, 
the Gary Coop>ers. But who — if Sellers sticks to 
his formula of always being someone else — will 
recognise Sellers ? Again, international stars are 
usually romantic ; Sellers has fought shy of 
romance on the screen. True, he did kiss Jean 
Seberg in The Mouse That Roared . . . but appearing 
in love scenes with pretty girls terrifies him. 

I predict that 1961 is going to be very important 
to Peter Sellers. Very important indeed. 

Arthur Thirkell. 


In '• Th« Mouse That Roared ” 
he played three roles includinf 
that of The Duchess of Grand 

•• Battle Of The 
Sexes ’’ saw him 
as a mild- 
mannered Scots- 
man with a 
mission : to 
murder a woman 
efficiency expert 

Villain Sellers 
holds “ tom 
thumb ” 

In " Carlton- 
Browne Of 
The F.O.” he 
was a crafty 
Prime Minister. 
Foreign, of 

" The Naked 
Truth nearly 
everybody in 
the film was 



Now it’s the turn of the men and, as in the 
previous portrait section, we’ve included some 
established stars with a few not so well known, 
but for whom we predict big things. All have 
that magic star quality, that something which 
makes them Leading Men. We hope your 
favourite is among them 




In the modern library of Bryan Forbes’ home, Richard Attenborough and his wife Sheila Sim listen to Mrs. 

Bryan playing a guitar and singing to its accompaniment. That’s Bryan in the left foreground, listening too 


(4) The Richard Attenboroughs ^ The Bryan Forbeses 

T he Attenboroughs and the Forbeses are four 
highly talented young people with tremend- 
ous drive and flair for doing the unusual. 
Four people not afraid to back their own abilities 
with their own money. We have teamed the couples 
in this oflf-duty feature because we know that’s 
how they would want it ... on and off set they 
are all great friends. Dickie and Bryan are 
partners in business ; they are founders of Beaver 
Films and are directors of Allied Film Makers. 
Sheila Sim is Dickie’s wife — they have three 
children — and Nanette Newman is married to 
Bryan — they have one daughter. 

The couples, while agreeing about work, don’t 
see eye to eye about homes and furnishings. For 

the Forbeses the accent is strictly on the up-to- 
date ; chairs of unusual shapes, pastel coloured 
paintwork, modern art on the walls and op>en 
bookcases. For the Attenboroughs it is the past 
that appeals. They live in a delightful old house 
with richly panelled oak walls. And on the walls 
. . . paintings with a history. 

The teaming of Dickie and Bryan is a joyful 
happening. Cinemagoers are still talking of The 
Angry Silence — which Bryan wrote and in which 
Dickie played the lead — and The League of 
Gentlemen. For this Bryan again wrote the 
script, and also played in it. 

Other productions from this team are eagerly 


and acres of Eat 
brown land. Cary 

Grant waits to moat a 
stranfor. A plana 

appears ; Grant 
knows ha is feeing 

** Naip^K Kw 

A senile psy- 
chopath (Felix 
Aylo^er) lures 
a young girl 
with the offer 

Some screen moments bring^ that 
prickly- back-of-the- neck feeling ; 
we sink a little lower in our seats, 
we avert our eyes . . . 

(Martha Scott, 
Cathy O'Don- 
nell) who once 
knew wonder- 
ful lives. 

** Ben Hur " 

gees, their cult of 
crime ravaged a 
nation ... a million 
people were 
strangled. **The 
Stranglers Of Bombay** 


H AIjAI^ and 



John Halas, the hint of 
British cartoons, in his busy 
office overlooking Soho 


F rom a spacious office set in a fascinating warren 
of technical studios and workshops over- 
looking Soho Square, works a man who can 
proudly claim to be head of “ the busiest cartoon 
film unit in Europe.” His name ? John Halas, of 
Halas and Batchelor, the partnership that virtually 
put the British cartoon film industry on the map. 

The way in which this unusually successful 
team came into being is quite a story which began 
when tall, charming John Halas came to England 
in 1936. 

Born in Budapest he grew up with a passionate 
love of the theatre but when he left school his 
parents apprenticed him to a carpenter. That job 
lasted a matter of weeks before he turned it in and 
obtained another with a cartoon film company — 
sweeping floors and cleaning paint pots. From that 
time on John Halas relinquished any other am- 
bition he may have had and became dedicated to 
making cartoons. He worked his way up to a 
better position (at one time he was assistant to 
George Pal, who later found fame in Hollywood) 
before taking a job in Paris. This fell through, 
however, and it wasn’t long before he was back 
in Budapest where he formed his own company. 
A couple of years later the invitation to form a 
cartoon film unit in England arrived and John 
Halas was on his way here. 

An advertisement for an assistant brought him 


an attractive blonde by the name of Joy Batchelor 
and after launching the Halas and Batchelor com- 
pany four years later they were married. 

A husband and wife team unique in the world 
of film making, the production that brought them 
real fame was the full-length controversial cartoon 
of George Orwell’s Animal Farm. This success was 
by no means an overnight one for together they 
had already produced more than 100 cartoon and 
puppet films before winning this enviable and much 
sought after assignment. 

Today the company is busier than ever, dividing 
its time equally between cinema and television, 
and under the guidance of Halas and Batchelor 
their large creative staff is always perfecting tech- 
niques of film-making and developing new and 
unusual characters. 

Their most recent films and character creations 
include features like : The Cultured Ape (this won a 
first prize at the Venice Film Festival), The Insolent 
Matador, The Widow and the Pig, The Lion Tamer 
and I Wanna Mink, and their latest character 
due to be seen in cinemas and on television this 
autumn is a cut-out paper dog called Snap, the 
basic idea for which came from a Danish artist now 
working with the company in London. 

Halas himself prefers to produce for the medium 
of the cinema — he says it offers him more scope 


The •* other half ** of 
the Halas and Batchelor 
team, attractive blonde 
Joy Batchelor, who is 
also the wife of John 


and presumably, for an artist, it is always more 
exciting to work in colour. 

Halas and Batchelor are also unique in another 
way, for their films have done more to make the 
cartoon “ adult ” than anything else produced. 
A form of screen entertainment which was at one 
time almost completely limited to children’s films 
or as fill-ins to the main cinema feature, the cartoon, 
thanks to this still young company, now occupies 
an important and very successful place in both 
cinema and television. 

As John Halas himself says ; “ The past few 
years have shown us that there is a very real de- 
mand for screen entertainment of significance — 
and we intend to play our part filling it.” 

We wish him every success. 


One of Halas and Batchelor’s A scene from the hilarious 

latest cartoons, “ The Cul- film, ” Airy Ercules." 

tured Ape,” won a first 
prize at the Venice Film 


HAT makes Laurence Harvey tick ? 

As we all know, he is Lithuanian bom 
(and Lithuania is, in case you want to 
know, on the Baltic Sea at the comer of Western 
Russia). In South Africa, where his parents had 
gone when he was six, Larry, just passed matricula- 
tion at the age of fourteen, was becoming restless 
in a war-tom world. It is a restlessness he has 
never lost. 

“ I want to grow up quickly and have adven- 
ture,” he said to his parents, with the result that 
at the age of fifteen he ran away from home 
and joined the South African Navy, telling them 
that he was seventeen. 

Larry was yanked home by his outraged parents 
and tried to take up a career in architecture. He 
grew even more bored and restless — and at length 



But he’s always got 
a girl in his arms 

with his parents’ resigned agreement, he again 
upp>ed his age — and joined the Army as a private. 

When he was demobilised he knew what he 
wanted to do because he had tried it when he had 
entertained the troops. He wanted to act. So he 
wrote to the R.A.D.A. for an audition and passed 
it with flying colours. He was then nineteen. 

☆ ★ ☆ 

Tn 1948 we saw him in his first film called House 
of Darkness, a quickie which won him considerable 
popularity and a contract. Under this he co- 
starred a couple of years later with Eric Portman 
in Cairo Road and from then on he gradually 
worked his way — with considerable ups and downs 
— to better films, not omitting his roles in the 
theatre, on TV and radio. 

In 1959 Room at the Top won him tremendous 
acclaim all round the world and a nomination for 
an Oscar. 

What is Laurence Harvey like himself ? He 
reads anything and everything he can lay his hands 
on, and occasionally turns to writing as well. He 
is a good tennis and rugby player, rides well and is 
a crack swimmer — which you may have noted in 
his role of Crabb, the frogman in The Silent Enemy. 
He stands over six feet tall, has dark hair with an 
auburn gfint in it, grey eyes and a tremendous sense 
of humour — of which he is his own favourite butt. 

In August 1957 while he was at Gibraltar where 
he went on location for The Silent Enemy, he 
married Margaret Leighton on a tender in 
Gibraltar Harbour. They live in Mayfair and like 
most couples have their ups and downs — which is 
not surprising when they are sometimes separated 
by some six thousand miles or so. They lead their 
own lives but they need each other. And the two 
things that have contributed to their happiness are 
tolerance and a sense of humour. 

☆ ★ ☆ 

If you asked what Laurence Harvey’s ambition 
was you would hear it echoing from the past, 
succinctly expressed — “ I want to be an actor — 
not a film star.” 

Which explains his excellent portrayal as the 
sleazy, shifty, quick-witted young agent in Expresso 
Bongo which followed his role in Room at the Top. 

We expect even greater things from him in 
coming films — The Alamo, Butterfield 8, The Long 
and the Short and the Tall, No Bail for the Judge, 
Green Gage Summer and the films he has signed to 
make for Hal Wallis. 


ABOVE : " I must be gone and BELOW ; With Susan Shaw in 

live— or stay and die ” — Laurence „ murder drama, “A Killer 

Harvey tells Susan Shentall as Walks,” in which he appeared 

they appeared in the title roles „ , murderer whose nerve 

of " Romeo and Juliet,” made broke 

in Verona, Italy 


A tango with Julie Harris 
in *' I Am a Camera,” 
an amusing, eyebrow- 
lifting film 

In ” The Truth about Women,” Laurence Harvey 
as a young British diplomat tries to smuggle 
Jackie Lane out of the Sultan’s harem — but is 
discovered I 

With Simone Signoret 
in " Room at the Top,” 
a strong British drama 
of IKe— and love— in 
the raw 

Adam Faith, with Peter McEnery and Shirley Ann Field, faces trouble in ** Beat Girl** 

Adam Faith earns something in the region of 
£1,000 aweek. He makes records that zoom 
^ up the Hit Parade and films that have starry 
eyed teenagers queueing for the pleasure of paying 
to see his image on a screen. He can afford anything 
he wants, except maybe the time to take a holiday. 
Adam is 20 years old. 

It would seem from these facts that he should 
be laughing, especially when he looks at his bank 
book. But is he ? In the world of pop music, 
you can be on top of the heap at 20 and a has-been 
at 21. Certainly if you sang Poor Me, supported 
by a Marlon Brando haircut and a soulful expres- 
sion at 30, your audiences would shriek — but with 
laughter. So what happens to Adam Faith when 
he can no longer rely on his babyish but appealing 
voice and off-beat good looks ? In fact, what 
happens next ? 

Well, there’s one thing you can be sure of. He 

won’t leave show business. He has said that he’ll 
stay in the business until he drops, and when his 
doctors told him he had an ulcer and advised him 
to take up a less strenuous and exciting career 
he refused. And anyway, could you work in an 
office or a factory after the money and adulation 
of fame had been yours ? 

Adam is already looking ahead towards the 
time when his voice will no longer be his fortune. 
He definitely has something of a talent for acting 
and has discussed taking elocution and drama 
lessons, so obviously he’s serious about an 
acting career. 

But what he really wants to do is direct a film. 
Could he ? Why not ? He impresses me as an 
intelligent boy who’s quick to learn. 

Of course, he’s not ready for the directorial 
chair yet, but given time and the right chances, 
he might make it. S.S. 



DcjC ^ 

well deserves her place in this category. For she is a 
teenager who has decided that “ a youn{ (iri should make 
herself look pretty — not a drab droop in jeans, overwhelming 
sweater and straggling hair-do.” She is not against 
tights, sweaters, and pony-tail coiffures, but they have got 
to be becoming and attractive. 

" I think teenagers should dress to their age,” she says. 

" They should not try to look older than they are ; and 
avoid too sophisticated clothes and hair-dos until they are 
in their twenties.” 

Of course, she has an advantage over most teenagers ; 
but they can benefit by her experience and example. She 
was a model at the age of twelve, and wise enough to take 
full advantage of all the advice given her on dress and 
deportment. In films — and off — Sandra is definitely one of 
the best-dressed teenagers. 

" I like white, it suits me, and I am 
always happy in it.” What better 
excuse could Dana Wynter have for 
making this her dress theme f She 
is seldom seen in any other colour, 
and her originality has put her in 
the “ best dressed ” category. 

Dana’s idea was not contrived as a 
gimmick to attract attention. It iust 
grew on her when she first started 
to take an interest in fashion. 

Even in winter time she wears white 
— tweed and woollens for day ; 
soft floating chiffons by night. She 
says it allows her to indulge in every 
other available colour for accessories ; 
though black is usually her day time 
choice ; and powder blue for evenings. 
Certainly she could not better 
complement her dark fragile beauty. 

In her colour selection, Dana proves 
her immaculacy. White must always 
be pristine fresh ; and it is her 
ability to achieve this that makes 
her sparkle in a crowd. 

is always a picture of perfection. 
Some people might ^ay that it is 
easy for her, because she is wealthy 
by birth and marriage. That is, in 
fact, just why she might well go 
wrong. Unlimited spending power 
can so easily lead to a cluttered, 
over-elaborate, high-pitched fashion 
wardrobe. Dina has too good 
personal taste for that. To the 
pleasure of the men, and the honest 
admiration of the women, she can 
" make an entrance ” better than 
most ; at formal affairs because her 
ensemble is startlingly lovely : at 
other times because it is simple and 
just right for the occasion. Apart 
from her good taste. Miss Merrill 
has a fetish for freshness. 

Each and every day she makes some 
time to tend her accessories. She 
chooses neat suits, cocktail dresses 
with classic simplicity ; bold hues 
and striking combinations in rich 
brocades and satins for evening. 

The fresh charm of Doris Day is 
reflected in her clothes — she has a 
flair for choosing simple clothes that 
provoke approving comment from 
women as well as men. 

Sports clothes dominate her wardrobe, 
with tailored blouses and skirts her 
pec day time outfits ; sleek, short 
sheaths for cocktail time, full length 
for formal evenings. Doris has a 
lovely figure, and is happy to show it 
off in fitting clothes like the beautiful 
evening dress she is wearing here. 

She does not consider showy fabrics 
becoming — so never chooses satin — 
adores sleeveless dresses. Wears 
little jewellery, but likes it to be 
real. She considers her diamonds 
not only an investment, but an asset 
to her appearance. Doris is not 
partial to furs and hates stoles of any 
kind because ” they need manipula- 
tion, and no woman can look smart 
and assured when she has to fidget 
with her clothes.” 



knows chat her beautiful face is her fortune, and is clever enough never to allow 
her clothes to detract from it. She likes clothes " chat keep the body line 
unaltered,” and though she favours decoration, she will not stand for fussy 
trimmings and accessories. When she first came to pictures, her generous and 
gorgeous figure was exploited by the publicists, so Gina wore very tight 
clothes to prove them right. But when she later went to Schuberth, the 
famous Italian couturier, for her clothes he persuaded her to wear them a little 
looser. She did — with devastatingly beautiful results. ” When people look at 
my clothes rather than me,” she says, ” I change my dressmaker.” But she 
makes sure that her clothes are worthy of admiration, even if it is only secondary, 

There is nothing outstandingly chic about this dainty little 
actress’ clothes. But they are always just right and set a pattern 
for all women of her age and size. It is ironic that the tragedy of 
her broken marriage set her on the road to good dressing. 

A nondescript dresser until then, she suddenly took a greater 
interest in what she wore. With the result that she can well be 
rated ” best dressed ” for her type. Sweaters and skirts, 

I pastel tinted and matching, are her usual choice for general wear, 

I and they look so good on her. 

five up the wind>whipped bob and ultra-casual clothes that were 
her first trademark when she be{an to feel her feet in filmdom. 
Once she discovered the self-satisfaction of chic dressing, she 
concentrated on style. Nevertheless she has held tight to her 
passion for individuality ; the knack of wearing the different thing 
that sets her apart from the crowd. She revels in the unusual ; 
and frequently designs and makes her own clothes to get the 
artistic touch. Leslie hurries to the studio in sweater and skirt 
and low heeled shoes ; but she manages to make thdm look as 
chic as formal evening clothes that can be by Chanel, 

Givenchy, Balenciaga— or herself ! She favours gay colours to 
complement her dark hair ; and to " go ’* with her temperament. 

has won. many Queen titles, including 
that of Sweater Queen. This was not 
because she emphasised vital statistics 
but because she wore them with such 
an air that they looked perfect on her. 
They still do. 

Eva believes in the subtle approach to 
fashion, always looks poised and ladylike 
in the casual sports clothes and suits 
that she prefers. And she is just dandy 
in her cute cotton frocks. She can well 
be an example to her fans because her 
wardrobe is small and limited — she likes 
it that way. She has mastered the 
art of “ mixing and matching '* 
with devastating results. 





Natalie Wood is the perfect example of the well-dressed short woman. 

She is five feet two inches in height ; but takes care neither to emphasise the 
" little girl ” idea nor to try to make herse’f look taller. “ You cannot 
follow new fashions blindly when you are my height,” she says. 

” You must stick to certain standards, then you'll look just as smart 
as the tall woman who has height to her advantage.” 

Natalie never totters around on terribly high heels ;.she chooses smart 
shoes that have heels high enough to balance her height. She doesn't favour 
fitted coats, either short or long. ” They incline to cut you up. Long 
straight lines are more becoming because they give a sleek, fluid outline.” 
Despite an affection for jewellery she avoids necklaces, standing by neat little 
earrings and fancy bracelets. You'll seldom see her without the latter — 
jewelled and flashing for evening ; neat in silver or gilt for day. 

Natalie's aim is for elegance ” the little woman should never be pretty- 
pretty,” she says. That is why she prefers long evening gowns ; 
and the newest ” shorter in the front styles are right up my street.” 

is ” best dressed ” because she ignores fashion to any great extent. She has 
lovely legs, pretty feet, and a tiny waist. So these are the focal points of 
her dressing. She is extravagant on shoes and beautiful belts, focusing the eyes 
of the beholder on these rather than the simple background clothes. 

Mitzi has changed her clothes notions since she was young and plump. Then 
she foolishly wore very full skirts and frills. But these were shed with the 
extra poundage. She gave up the long dangling earrings and charm bracelets 
that fascinated her then. Today her passion is for brooches, and she usually 
relies on one important piece of jewellery for sole dress decoration. 


‘■f. -V C h a r 1 1 o n “ B e n-H u r 

'tX..- V Heston received his Best 

:• Actor Award from Susan 


The Award to a film animal if called a Patty. 
On the left, Shaggy (“ The Shaggy Dog ’*) ; on 
the right, Atta (‘‘ The Thin Man ”) 

Now you know what Otcar 
looks like I At the IfM 
Annual Academy Awards 
in Hollywood it was 
Shelley Winters who got 
the vote for the Best 
Supporting Actress and to 
Bob Hope went a special 
presentation for 
** Humanitarian services ” 





Be*t Actres* Award went to 
" Room At The Top ” 
Simone Signoret here teen 
with Rock Hudson 

Meet Robert Wagner 



1 ' 



II ; 



I I 

In Scotsdale, Arizona, Robert Wagner and Natalie Wood take 
out their wedding licence at the registrar's office 
Below : Bob gives Natalie an Eskinrto kiss— rubbing noses 


and Natalie Wood 

’ 4 -:' 



W HEN Robert Wagner and Natalie Wood 
married in December 1957, voices of 
doom prophesied that “ it would be all 
over in six months.” But the prophets were wrong. 

“ We’re a little bit sick of that ‘ wherever she 
goes he goes, wherever he goes she goes ’ bit,” 
declares Mr. Wagner. 

“ But what can we do about it ? It’s true,” says 
Mrs. Wagner. 

So they do nothing about it, which is as it should 
be since no pair in Hollywood are obviously as 
content in each other’s company. 

Bob never proposed to Natalie formally. 

☆ ★ ☆ 

“ We were dining out, celebrating his return 
from Tokyo,” says Natalie. “ I lifted my cham- 
pagne glass and saw something glistening in the 
bottom. It was a ring and inside two words were 
engraved — ‘ Marry Me.’ The rest is history.” 
After their marriage they began housekeeping in 
a boat. Before their marriage, Bob’s boat was 
named My Lady. They sold this and bought a 
larger craft, naming it My Other Lady, which they 
sold when they finally saw their “ dream boat.” 
Before they could close the deal, however, their 
“ dream ” became another’s — so they decided to 
buy a house. 

Natalie is not sure that she likes living in a house 
for she feels more at home in a boat. 

“ When we want to get away for a weekend we 
just take our house with us,” she says. “ Before 
R. J. (she always refers to Bob as R. J.) and I were 
married, my knowledge of boats was confined to 
the Lurline over and back from Hawaii.” 

She took to My Other Lady like a duck to water. 
‘‘ She was a good student,” says Bob with 
critical pride. “ On our first trip out she didn’t 
make a mistake — until we docked, that is. Then 
she forgot to let go her hold on a rope and fell 
overboard. I saw it coming but was too frozen 
to do anything about it.” 

Natalie even got a radio operator’s licence for 
the ship-to-shore telephone. 

Mr. and Mrs. Wagner co-starred for the 
first time in **AII the Fine Young Cannibals ** 

“ When we would pull into the bay at Catalina 
I noticed all the other fellows on boats levelling 
their binoculars on us. That’s when I decided 
to put Natalie on the bow handling all the ropes. 
She is so tiny that it made quite a picture — and 
caused a mild sensation when the other boat- 
owners’ wives got together and protested. After 
watching Nat it seems the husbands demanded the 
same co-operation from them.” 

Bob claims that Natalie’s tiny size — a slender 
5 ft. 2 in. — is a distinct advantage to a boat-owner, 
especially when hard-to-get-at parts of the engine 
need repainting. This was her job on more than 
one occasion and once while thus engaged she 
attracted quite a gallery of onlookers all staring 
into the hold at her in disbelief. 

She’s also a good cook at sea — but put her in a 





kitchen with all modern appliances and she burns 

Now they have their own house — a two-storey 
Colonial house in Beverly Hills, with a salt-water 
swimming pool — they are still managing to keep it 
as private as their private lives, only Natalie is 
willing to talk about it. 

“ The downstairs, with the exception of a den, 
is very formal,” she explains. “ Marble floor is 
being installed in the entry hall and dining-room. 
The living-room has fitted carpet and is done in 
shades of ice blue with vivid accents. The den is 
wood panelled with leather furniture. This is our 
‘ entertainment centre ’ with hi-fi, stereophonic 
sound, television, and a projection machine. There 
are three bedrooms, one an office, one a guest room, 
the third our room.” 

When you saw them in All the Fine Young Canni- 
bals, you saw something they vowed that they 
would never do — a film together. 

The fact that they took their roles in it was 
because the film was different from others offered 

them — sticky comedies about young married 
couples and their domestic problems. These 
they turned down. However, they hope to make 
Seventh Heaven together, for they feel that its 
special qualities are in direct opposition to the 
wave of realism sweeping the world. 

In addition to R. J. and Nat, the Wagner 
household includes two pets, both dogs. Chi Chi, 
Natalie’s, is a toy poodle, silver-grey in colour 
and small enough to fit into her handbag. Conroy, 
Bob’s, is a black Labrador retriever, a gift from 
Bing Crosby. 

Natalie prefers to have her husband with her 
when she shops. When she can’t make up her 
mind between several choices, he says, “ Take 
them all.” He prefers her in sports clothes. 

Both love surprises and gifts prompted by 
nothing. Chi Chi was a “ nothing ” gift. So 
was Bob’s wrist watch engraved “ I love you.” 
Bob has a passion for cars. The Wagners are 
now a two- Jaguar family — but they prefer to use 
one at a time — together. 




Old Man 


S IXTY years old, white-haired, rugged in face and 
manner, a man’s man all has life, Spencer 
Tracy has made over 70 films — and nobody 
has seen him give a poor performance in one. 

His first film, Up the River, we saw in 1931. In 
1937 and 1938 he won Oscars for his roles m 
Captains Courageous and Boys Town. Recently he 
appeared in The Old Man and the Sea and The Last 
Hurrah and has made Inherit the Wind. 

The son of a weU-to-do Irishman, Spencer served 
in the U.S. Navy in World War I. With him 
served Bill O’Brien, his school friend who still 
remains his friend since they took up acting together, 
and who is better known to us as Pat O’Brien. In 
1921 he planned to become a doctor but 18 months 
later decided that it was an acting career that he 

It was a tough battle he fought, and in 1935 his 
behaviour at home and at the studio nearly ended 
his acting career and his married life, for he was 
getting no satisfaction from his work. For a year 
he played it high, wide and handsome. Then he 
came to his senses and went back to his wife and 
two children — and to even better roles in films at 
another studio. 

What is the secret of Tracy’s 30 years of success ? 
He is rarely satisfied with a scene when he has 
played it and he has a reputation for being a 
worrier about his roles. 

“ What I try to do mostly,” he says, “ is play a 
part honestly.” 

He hkes good books, especially biographies. 
He likes good friends but doesn’t make them easily. 

There are three things he has always objected to 
doing on the screen — dancing, singing and torrid 

love scenes — but he has reluctantly done them when 
his role demanded — as he did in A Guy Named Joe. 

In 1940, Clark Gable said of him, “ He’s the 
restless type. The only time he’s contented to be 
where he is is when he’s working. Any time he 
mutters anything about retiring you can safely 
disregard it.” 

And what was said of him then by one of his 
great friends is as true of him now. 


Perfect face, perfect statistics are 
not enough. The pose must be 
right and the subject relaxed. 
Cornel Lucas demonstrates to 
British actress Susannah Yorke 

He is the ace film star photographer who during 
his years of experience in the world of films has 
captured through his camera lens faces that have 
made history, faces you’ve admired, faces you’ve 
wondered at, faces you’ll never forget. 

“ ^T^here’s so much more to being a film star 
I these days than having a good face, a fine 
set of teeth, a perfect smile. The cinema- 
going public demands much more. It is a public 
that is spoilt. It has the pick of international 
artistes, brilliant writers, talented directors and 
producers. It also has television. The handy 
little square box that is changing the face of the 
entertainment industry. And with the help of 
all these factors the public wants to look at a 
star who looks like a star. Not a tatty little girl 
dressed up to the nines in clothes borrowed from 
the studio — just off to open a bazaar. 

“ And so when I am called on to produce a 
photographic session — or stills session as it’s 
called in the business — I have to put quite a lot 
of thought into the photography that will satisfy 
all you thousands of film-fans. 

. “ Of course there’s no problem when the subject 
is Brigitte Bardot. Brigitte is a complete natural 
and looks wonderful from any angle and in any 
pose. The uncanny thing is that she knows — by 
instinct I’m sure — exactly how I am going to want 
to photograph her, and without asking she’s in 
that pose, completely at ease in her surroundings 
and just waiting for the shutters to be cUcked. 

“ I have a feehng that this is because Brigitte 
is Continental — this is usually much more of a 
necessity for relaxation than experience, looks or 
anything else. Continental girls are wonderfully 
relaxed all of the time. English girls have a 
barrier of reserve which often takes me a great 
deal of time to break down. 







“ Take the case of Susannah York. Here is a 
most beautiful and very talented young English 
actress with a perfect face, perfect set of statistics 
and everything else that goes along. But as soon 
as she walked into my studio I could see that she was 
nervous — and this could be a disaster for my stills. 
She wasn’t sure of the best way to put herself before 
the camera, the best way to do her hair — the best 
way to look. And so, although I had planned the 
session to take just a few hours of the morning it 
ended by taking all day. Simply because I had to 
spend time with Susannah — talking to her, laughing 

with her, trying to break down this barrier of 
reserve, and eventually I did get exactly the sort 
of photographs I wanted. 

“ There must always be complete relaxation 
between my subject and me when I am photo- 
graphing. Without this the subject is perpetually 
stiff and ill at ease. And I can assure you that this 
hits out the minute you see the picture. No 
matter how beautiful — or handsome in other 
cases — the stars are, they must feel quite at home in 
front of the camera. 









BE YOURSELF : “ Individuality is vei7 im- 
portant if you want to get on in life. This is very 
true in the lives of film stars, but applies generally 
too. If you’ve got a certain way of looking that 
you think suits you — stick to it. Don’t be fooled 
into trying to look like or be someone else just 
because it’s in the fashion. Believe me, what looks 
good on your favourite film or TV star will often 
look a mess on you. This is often the case with 
hair styling. I will always turn my head when I 
see a perfectly groomed head of long hair. To 
me there is nothing more lovely, more completely 
feminine than long hair. And nothing makes me 
more furious than hearing that a girl has just cut 
her hair only because everyone else is having it cut. 

“My own beautiful wife, actress Susan Travers, 
has wonderful long red hair, and if she ever wants 
to make me really mad she tells me that she is 
going to the hairdresser to have her hair cut. 
She knows that she’ll have me practically hopping 
with rage. 

FILM STAR REBELS : “ Film stars often feel 
rebellious against the sort of persons they have to 
act. I always marvel at the basic structure of 
film stars. Because no matter how they feel or 
what they feel they have to be there making you 
laugh or making you cry, making you feel that 
you are the only person that matters. I found a 
bit of the rebel in Cliff Richard last time he was 
in my studio. Sure he was there, ready and in 
position before the camera, but I could sense there 
was something the matter. After some minutes 
of conversation I found out that Cliff has a very 
serious side to his nature, and wanted to be photo- 
graphed looking serious for a change. And so I 
got a set of pictures of Cliff that were quite 
different and showed him looking, I think, even 
more appealing with the suggestion that he too 
has his problems. 

Stars who appear in the heading on previous pages : Michael 
Craig, Stanley Baker, June Laverick, Belinda Lee, Cliff Richard, 
Kenneth More, Brigitte Bardot, Patrick McGoohan 


“ But more than ever I see evidence of a great 
change in show business. You just look up some 
old movie annuals and see how much your taste 
in film stars has changed. Even from one year 
to the next the type of person public’s film idol 
is changing. Have you ever seen a picture of 
Rudolph Valentino or of Greta Garbo ? Those 
heavy eyelids and obvious sexy poses no doubt 
make you fall about with laughter. But don’t 
forget that these people were once the idols of 
their day. And so as your tastes change so you 
bring about a different type of face on the screen. 
And with it my camera technique has to change so 
that you’ll always have your favourite film stars 
recorded in the way you want to see them. 

“ So you see, you keep me pretty busy — and 
you pose me some problems too, but however 
many problems there are, however many film 
star moods, film star temperaments I have to 
contend with, it’s a business I’m proud to be part 
of. A business I’ll never want to leave.” 

Lucas's actress wife beautiful Susan 
Travers. The shot should be in 
colour to show her wonderful red 

Why so 
serious ? 
explains in 
the article 

taken when 
he was in 
Nor The 
Moon By 
Night ** 


MORE when 
working on 
“ A Night 
To Remem- 
ber ” 


Pal Joe^ 

My favourite Sinatra musical — the loud, brassy 
and immensely enjoyable Pal Joey in which he 
starred as a two-timing night club entertainer with 
a fatal fascination for women — his two luscious 
leading ladies were Rita Hayworth and Kim Novak. 
It was Sinatra’s rendering of some of the best of 
Rodgers and Hart, i.e. The Lady Is a Tramp, There's 
a Small Hotel, I Didn't Know What Time it Was 
and I Could Write a Book that made me his fan 
for life. 

Who Was Thai Tad^? 

I had a hard time choosing between this one and 
Some Like It Hot which also starred Tony Curtis. 
In the end I decided I laughed longer and louder 
at Who Was That Lady ? — a completely wacky 
story of a husband (Tony Curtis) who getSoCaught 
by his wife (Janet Leigh) kissing a very attractive 
girl and in desperation agrees to his best friend’s 
(Dean Martin) invented excuse that he is secretly 
an F.B.I. man and what she saw was him staunchly 
carrying out his duty ! 

All Quiet on the 
Western Front 

The film that said everything about the horror 
and futility of war as far back as 1930. There 
have been few others that have had anything like 
the tremendous impact or the superb and moving 
battle scenes of All Quiet on the Western Front. 
Starring Lew Ayres and Louis Wolheim and 
impressively directed by Lewis Milestone, it still 
draws long queues of eager cinemagoers whenever 
it is shown. A little of the power of its message 
can be illustrated by the story that on its showing 
in Berlin in 1930 it was picketed by Nari Brown 
Shirts who let white rats loose among the seats. 


As a reviewer for Picture Show I see almost every film produced — 
epics, second features, good, bad and indifferent. From this vast col- 
lection I have made a personal choice of my ten favourite films. 

The Wagres of Feai* 

For absolutely nerve-racking tension and 
suspense there’s never been a film to beat The 
Wages of Fear. This French production starring 
Yves Montand as a truck driver determined to get 
his highly explosive load of nitro-glycerine to its 
destination across bad terrain when every jolt 
could mean the whole thing going sky-high had 
everyone gripping their seats in excitement and 
audibly sighing with relief as every tricky moment 
was safely passed. That included me. I was up 
there in spirit in that driver’s cabin every foot of 
the way. 


I revelled in every romantic moment of the gay, 
charmingly naughty musical Gigi. I was quite 
entranced by that enchanting performance by 
Leslie Caron in the title role, by some of the most 
delightful songs heard in a screen musical and by 
those breathtaking costumes designed by Cecil 
Beaton. After all, this Colette story of a young 
French girl living in Paris at the turn of the century 
who preferred marriage to the life of romance for 
which she had been educated did win ten Academy 

irk'ki r k'k'k'k'k'ki r k -kirk'k'k'ki r ki r k'k'k'k'k'k'k'k'k'k'kiK'k'k'ki r k'k'k'k'k-ki r k •k'k'ki r k'k'k'k'k 

of Fflen 

The screen version of John Steinbeck’s best- 
selling novel East of Eden was mainly notable for 
one thing — a vivid, vibrant performance from a 
young actor James Dean. His characterisation of 
the central role of Cal, a neurotic boy blindly 
striving for love and understanding, was a per- 
formance that had an instant and memorable 
appeal and which lifted the film right out of the 
ordinary. James Dean made only three films 
before he died — the other two were Rebel Without 
a Cause and Giant — but for me his role in East of 
Eden was his best and one I could watch again 
and again. continued overleaf 



A Matter of Life 
and Death 

The first film that made a big impact on me was 
the brilliantly staged and produced A Matter of 
Life and Death, a story of a doctor’s (Roger 
Livesey) fight for the life of an R.A.F. pilot (David 
Niven) whose brain injury gives him the delusion 
that he is being called to another world and that 
he has only escaped death because the French 
Conductor (Marius Goring) from the other world 
didn’t collect him on time. Touching and witty. 

Richard III 

Richard III — this was Shakespeare that was never 
boring and it was all due to the performance of Sir 
Laurence Olivier whom I really didn’t appreciate 
until I saw him in this portrayal of the malevolent, 
scheming Richard, and then I was filled with 
admiration. An impressive, superbly acted, 
directed and set film full of colour and pageantry' 
and the brilliance of Britain’s greatest Shakes- 
pearean actor. 



The film that convulses me with side-splitting 
joy every time I see it (at the time of writing I 
remember four occasions) is Monsieur Hulot's 
Holiday. Wonderful, wonderful Jacques Tati at 
his riotous best exuding good will to all but with 
disastrous effect as he gets mixed up with a funeral, 
tries to play tennis, tries to go canoeing, tries just 
to enjoy himself on the beach and finally, horror 
upon horror, lets off a whole shed of fireworks. 


Beauty and the 

One of the most romantic of fairy tales is the 
delightful story of Beauty and the Beast. When 
Jean Cocteau’s marvellous La Belle et la Bete 
starring Josette Day and Jean Marais was produced 
it brought to the screen an unforgettable fantasy 
world which 1 found frightening and fascinating 
but always beautiful. 







Two of 
Italy's top 
stars in this 
scene from 

L'inferno " ; 
Masina anu 


Since the last war there has been an astonishing 
rise in the quality and output of Italian films ; they 
have more than held their own against the growth of 
TV, and an increasing number of British, French 
and American stars are working in their studios. An 
ever growing number of Italian films, too, are being 
shown in this country. On this page we show four 
scenes from recent films 


Voluptuous Anita Ekberg,with Vittorio De Sica in " The Colonel’s 
Three Etceteras " 


Giovanna Ralli and Maurizio Arena in a shot which belies the title 
“ An Easy-going Man ” 

In " Road Of The Giants ” Chelo 
Alonso creates havoc among the men 


B orn in London in 1926, Lionel Jeffries’ 
earliest ambition was to become a soldier, 
and as World War II began to rage soon 
afterwards, at the age of 16 he joined the Oxford- 
shire and Buckinghamshire Light Infantry. In 
1943 he won a commission after which he was 
seconded to the West African forces in Burma, 
following this in 1946 by joining a travelling 
concert party which entertained the troops there 
when the war ended. 

“ We toured all over Burma,” says a friend of his. 
“ Four things about him remain in my mind. The 
dusty suede shoes he never seemed to take off ; 
his perpetually floppy salute which would have sent 
a Guards sergeant-major round the bend ; the 
ever-present sweat rag he wore round his necjj. ; 
and the tremendous amount of enjoyment he 
seemed to derive from being in the shows.” 

These appearances in fact whetted Lionel’s 
appetite for acting, and while waiting to be sent 
back to England he joined Radio SEAC where, in 
his own words, “ I acted in plays, read news, did 
noises off, and in short was general dogsbody.” 

On demobilisation he studied at R.A.D.A. 

“ Some people derive great benefit from it. 
Some don’t,” says Lionel. ” I came into the latter 
category. One of the actors there once told me : 

The Man Others 

Quettioning James Booth 
as Spider is Lionel Jeffries 
as Dot. Sgt. Thompson in 
“ Jazzboat ” 


As Crout, the toughest warder 
imaginable, he suffers from an 
“accidental” explosion in “Two 
Way Stretch " 


‘ Listen to what they have to tell you and then let 
it go through one ear and out of the other. BUT 
on the way through, pick out what you think will 
be of use to you.’ It was admirable advice.” 

It must have been for he won an award at 
R.A.D.A., then he went into rep at Lichfield, where 
for two years he worked hard — and married his 
leading lady, Eileen Walsh. Then he returned to 
London . . . and looked for work. 

” It was none too easy,” he recalls now. “ Apart 
from any other consideration, I was absolutely 
bald and this ruled out any ‘ young man ’ parts for 
me. On the stage I used to play characters about 
twenty years older than I really was. 

It was when he was cast as the Guards officer in 
The Colditz Story that he really made an impression 
in fiilms and a number of smallish roles followed. 
Nine films later in a house in Beaconsfield, Bucks, 
he settled down with his wife and daughter. 

Then came his biggest chance — the role of the 
miserly old north-country Dr. Hackett, married 
to a pretty but dissatisfied young woman in Doctor 
At Large. Do you remember the scene in which 
Mrs. Hackett gives newcomer Dr. Sparrow the 
extra sausage — and her jealous husband im- 
mediately begins talking about medical poisoners 
who must have escaped the gallows ? 

His portrayal of this role stamped him as an 
excellent actor, and since then he has stolen scenes 
in many films, ranging from farce to melodrama. 
In fact he’s appeared in over 20 in four years. Not 
too bad for a bald ’un ! 

Actors Fear 

In womanly (uise he tries to 
steal a water polo ball laden 
with a fortune in diamonds in 
" Blue Murder at St. Trinians ” 



Here is a mixed selection of tuneful talent 
from both sides of the Atlantic. Whether on 
the wide screen with multi-channel sound, LPs 
with stereophonic sound or TV with just sound, 
these are the artistes who delight Mums and 
Dads as well as teena^rs. Versatile, that’s the 
word to describe these stars, for they <^n act, too 


^Sjr '*Xi>-^^^P 




‘The Devil Was An 
Early Acquaintance’ 

F ilm-making is a very part of me. It is a 
driving force like hunger and thirst. 
Some people express themselves by vvriting 
books, painting pictures, climbing mountains, 
beating their children or dancing the samba. 
I express myself by making films.” 

These are the words of a film director who has 
caused a fever of excitement in serious film circles 
in the past few years. The director whose films 
usually cause controversial opinion but pull off 
the top prizes at international film festivals. His 
name ? Ingmar Bergman. 

An extremely gifted, sensitive and imaginative 
youth he was born the son of a Lutheran clergyman 
in 1918 in Uppsala, Sweden. At the age of ten 
he received his first rattling film projector and his 
fascination for films was born. 

Brought up in his father’s vicarage it is obvious 
his rehgious background has had a profound 
effect on the films he has made, as he himself 
says, “ in a vicarage one gets an early picture of 
behind-the-scenes Life and death. Father performed 
funerals, marriages, baptisms, gave advice and 
prepared sermons. The devil was an early 
acquaintance ...” 

In 1944 Bergmau made his cinema debut by 
writing the script of Frenzy (it starred Mai 
Zetterling). Probably the first film he directed 
that we saw in Britain was Sawdust and Tinsel, but 

it was really The Seventh Seal that began the 
influx of Bergman pictures to Britain. 

Summer Interlude, a lyrical story of young love, 
is his favourite film, while Wild Strawberries and 
The Face possibly gained the highest critical 

Noted for the sombre overtones of his films, 
with Waiting Women Bergman sprang quite a 
surprise on his devoted public for it became very 
obvious that he was also gifted with a wonderful 
sense of humour. The famed elevator scene 
between Eva Dahlbeck and Gunnar Bjomstrand 
was a delightfully subtle piece of comedy. 

Something of an enigma himself, Bergman often 
puzzles his audience. He doesn’t, however, ever 
forget them : 

” The film-maker uses a medium which not 
only involves himself but millions of other people, 
and most likely he has the same desire as other 
artists : I want to succeed today. I want to be 
praised now. I want to please, delight and fascinate 
people right away." 


'* Elmer Gantry." Burt Lancaster in the 
name part as the man who found notoriety in 
the world of Evangelism 




The moment of truth for Elizabeth (Gia Scale) 
when confronted by Reger (Herbert Lorn) with 
a hidden miniature camera in her lipstick in 
" I Aim at the Stars" 

11 . 

" The 
Innocents " 
.. Inuk 
amuses an 
mum and 
her three 
And it is 
Asiak (Toko 
Tani) on the 
left whom 
he marries 

Big: stars, powerful stories, scenes 
that made you laugh, or cry, or 
think. They are all on the 
following six pages. Moments to 
remember or— because not all 
the films have been released 
yet— moments to anticipate. 


A powerful scene 
from two of the 
cinema’s best- 
known per- 
formers, Lloyd 
Nolan and Lana 
Turner. Film : 

“ Portrait In 
Black ” 


Pete Hammond 
(Tony Curtis) 
lends a helping 
hand to a lady 
in distress 
(Debbie Reynolds), 
" The Rat Race ” 

" Oh, my 

foot I ” 





Finn (Eddie 
has just 
stamped on 
it. Tony 
Randall and 
seem hardly 
to care— 

“ The Ad- 
ventures Of 
Finn ” 


Out to the 
wide . . . 
makes sure 
that the lady 
Ford) hasn't 
been at his 
pal's wallet 
m •* Home 
from the 
Hill " 


So this is a 
beatnik ! 

For Leslie 
Caron it 
was an un- 
usual role 
in ** The 
eans." V/ith 
her here» 
jim Hutton 
and Roddy 



Deborah Kerr struggles 
to get that TV ad. white- 
ness watched by Robert 
Mitchum (typical husband 
attitude) in ** The 
Sundowners " 

*' Five Branded Women *’ 
. . . three shown here are 
Barbara Bel Geddes, Vera 
Miles and Carla Cravina. 
They fraternised with the 
enemy and a shaven head 
was their mark 


A tender 
moment in 
•• The 
World Of 
Suzie (Nancy 
Kwan) and 
finds her 
with her 


Blinded in e factory explosion Richard Hammond 
(John Gregson) faces the future in the care of his 
wife Christina (Mai Zetterling), “ Faces In The 
Dark ” 


Hernnan (he’s the Pigeon) leads Glenn Ford and 
Debbie Reynolds a merry chase in “ The Gazebo " 


One of IMO’s biggest impact films ..." conspiracy 
Of Hearts.** A story that tugged at the heart- 
strings. Seen here, Lilli Palmer, Sylvia Syms, 
Yvonne Mitchell and George Coulouris 


Who will forget this 
poignant scene between 
Richard Attenborough 
and Pier Angeli in the 
controversial British film 
“ The Angry Silence ** ! 

'* Seven Thieves *’ ... 
a film that kept you on 
edge. And ** on edge ** 
here— of the parapet— 
Rod Steiger and Michael 



Hera are Liz’s three 
children— Michael and 
Christopher Wilding 
and Elizabeth Todd 

Elizabeth Taylor and singer Eddie Fisher apply for their marriage 
licence at Las Vegas after Fisher received his divorce decree from 
Debbie Reynolds 

Left : Laurence Harvey wraps up Liz against the New York cold 
while making ” Butterfield 8”; assistant director Hank Moon- 
jeams looking icy in the background 

S he’s been called the most beautiful girl in the 
world — she’s also been called spoilt, arro- 
gant, husband-stealer, and the only star who 
was born with her make-up already on. 

But are we being entirely fair to the girl who 
claims that her whole aim for the past several years, 
despite her turbulent private life (marriage to 
Eddie Fisher in 1959 was her fourth), has been to 
increase her status as an actress? 

With a face, figure, and a zest for life as 
possessed by the lovely Liz, pubhcity, usually 
unfortunate, is difficult to avoid but note the roles 
she has played in recent years and the recognition 
she has gathered. Two Academy Award nomina- 
tions came her way for her performances in 
Raintree County and Cat On a Hot Tin Roof (this is 
the film she gamely finished after Mike Todd, her 
third husband of little over a year, was killed) and 
she received wide critical acclaim for her excellent 
portrayal in a most taxing role in the hotly contro- 
versial Suddenly, Last Summer. 

Remember also that this acclaim is nothing new, 
for as far back as 1952 she won an Academy 
nomination for A Place in the Sun. 

Her forthcoming roles are no less promising ; 
she is starred opposite Laurence Harvey in 
Butterfield 5 in a meaty role as a “ fallen woman ” 
which she refused to play until the script, which she 
called pornographic, was toned down. Then comes 
the biggest chance of her career in the title role of 
the mammoth production of Cleopatra. 

Strangely enough, Liz, since marrying Fisher, 
has also said on at least one occasion that she 
intends to be finished with a screen career as soon 
as her commitments are cleared up. 

We-ell, considering that she is one of the most 
sought-after and highly-paid stars in the world — 
her name in the credit titles is almost a guarantee 
of box-office success — we doubt it. 

In fact, we don’t think Liz needs worry too much 
about her histrionic reputation. We at least 
are already quite happy to salute Miss Taylor — 












Time’ ' 


“ X’vE never known a director who could keep 
I his mind open longer on a scene. He will 
^ walk up to you where you stand after the 
tenth tantalising assault on one concept of a 
scene, take the coffee cup out of your hand for a 
tentative sip and say, speculatively : ‘ Y’know, I’m 
damned if this is the right way to do this after all. 
I now have a different idea ! ’ ” 

The speaker, Charlton Heston, star of Ben-Hur. 
The man he was speaking about, William Wyler, 
director of that brilliantly successful film which 
scooped eleven Oscars last year. 

Wyler is known as one of the most meticulous 
film directors and a man so admired by actors 
that if he demands fifty takes that’s what he gets. 

The recent Ben-Hur award was his third Oscar, 
the two previous being for Mrs. Miniver and The 
Best Years of Our Lives . . . and he’s been nominated 
for the award thirteen times. 

It is interesting to recall that when M.-G.-M. 
produced the silent version of Ben-Hur in 1925 
William Wyler was one of the thirty or so assistant 
directors assigned to handle the herd of extras 
for the fabulous chariot race scene. And talking of 
the race, has there ever been a more specta- 
cular and thrilling episode than in the current film ? 

Long may the famous Wyler phrase be heard 
in filmland : “ Just one more time, please.” 

BELOW: Tom and 

Jerry . • . modelled 
on pets that turned 
up at the office 

Men Behind 
and Jerry 

W ILLIAM Hanna and Joseph Barbera, the 
creators of the world-famous cat and 
mouse, Tom and Jerry, are veterans in the 
field of animated cartoons. 

Three years ago they branched out on their own 
under the banner of Hanna and Barbera Produc- 
tions — they were formerly with M.-G.-M. for 
20 years — located at the old Charlie Chaplin 
studio in Hollywood. 

Oddly enough, neither William Hanna nor 
Joseph Barbera started his career in life as artist 
or cartoonist. 

Hanna, born in Melrose, New Mexico, studied 
engineering and journalism at the University of 
California. His first job as a structural engineer 
was for the building of the Pantages Theatre in 
Hollywood. After falling off a girder he decided 
to try his luck at another profession. 

At a friend’s suggestion he went to art school 









where he studied for several months before getting 
his first “ art ” job with the Harman-Ising cartoon 
firm. His duties were “ to clean cartoon frames, 
sweep up the place, run errands and inspire bosses 
with story ideas.” 

Joseph Barbera, born in New York City, went 
to work as an accountant for the New York’s 
Trust Company. He was a dreamer and a doodler, 
a habit which was to launch him in a new career. 
After many tries of submitting cartoons to maga- 
zines he managed to sell one to Collier's. Soon he 
became a regular contributor to such leading 
magazines as The New Yorker and Punch as well 
as Collier's. 

In 1937, Bill Hanna was hired by M.-G.-M. 
studios as a director and story man and Joe Barbera 
became an animator and writer at the same studio. 

As their first assignment the two men were told 
to create a fresh, new cartoon series for motion 
pictures. The result : Tom and Jerry. 

William Hanna, a modest and unassuming 
gentleman, told me : “ My partner and I got along 
together so well all these years that by now we 
seem to be like identical twins, knowing each 
other’s thoughts and blending our ideas together.” 


** We have tried to five the audience characters 
they can identify with themselves ** 

“ Are Tom and Jerry modelled on any particular 
cat and mouse ? ” I asked. 

“ On the M.-G.-M. backlot there was a whole 
colony of cats to keep down the population of rats. 
Although the studio supplied them with food, 
water and even milk, those cats were vicious and 
like wild animals. From them we got the idea 
of adding Butch, the alley cat. Butch’s counter- 
part was on the backlot, and this also is true of 

“ Jerry, the mouse, was a little creature that 
turned up at our office from nowhere — I guess he 
was after scraps. We encouraged him to have the 
run of the office by putting titbits of cheese and 
other tasty morsels for him to nibble. We used 
to watch him for weeks in all his movements and 

“ When kittens were born to the alley cats the 
girls in the inking department mothered them and 
made pets of them. Here we added models for 
the behaviour of Tom and Jerry. 

“ The bulldog idea was actually created from a 
little pup we called Tike. In our department we 
had an animator, the father of a small boy, who 
continually bragged about his son’s smartness. 
Day in and day out we had to listen to this devoted 
father and son relationship. My partner and I 
thought it a good idea to use the same formula 
with dogs and so Spike came into being.” 

During the 20 years’ tenure at M.-G.-M. the team 
turned out 125 adventures of the mischievous 
rodent and bungling feline, which won seven 
Academy Awards for the studio. It was expensive 
to produce these cartoons which cost about 
£13,000 for a seven-minute run. 

In 1957, with the motion picture business at an 
all-time low, M.-G.-M. decided to discontinue 
cartoon production for motion pictures and Hanna 
and Barbera were given release from their contracts. 

This proved to be the biggest break of their 
lives. Together they had perfected several tech- 
niques and ideas for producing cartoons for 
television which they submitted to various advert- 
ising agencies and film production companies. 

Everywhere they went they were met with the 
same answer : “ It can’t be done. Good animation 
is too expensive ; limited animation is too shoddy.” 

On 7th July 1957 the two men formed the Hanna 
and Barbera Productions and Screen Gems took 
over as distributors. Their first production was 
Ruff ’n’ Reddy, a story about a frisky cat and a 
dimwitted dog, and went on an American network 
in 1957, followed by Huckleberry Hound, the saga 
of a canine Don Quixote, which is one of their 
most popular cartoons. 

It is estimated that it takes over 90 separate 
drawings to create a laugh movement or a total of 
10,000 individual drawing frames to make up a 
half-hour cartoon enjoyment. 

Bill Hanna and Joe Barbera say.; “We think 
the popularity of our cartoons lies in providing 
psychological release for all human beings of all 
ages. No one gets hurt despite clobbering and 
binding situations. 

“ We have tried to give the audience characters 
which they can identify with themselves — then 
follow up with wild antics impossible to duplicate 
in real life. 

“ The adults have taken to the satire while the 
children watch the programmes for the face value 
action packed story.” 

William Hanna is married and resides in North 
Hollywood with his wife and their two children, 
Bonnie, 18, and David, 21. 

Joseph Barbera and his wife live in West Los 
Angeles. They have three children, Lynn, 21, 
Jayne, 18, and Neal, 15. 

Loopy d Loop 
All the 
charm of a 
including the 







Holmes notices a 

missing picture in 

“The Hound Of The Basker- 
villes.” Peter Cushing as 

Holmes, Andre Morell as Dr. 
Watson and Christopher Lee as 
Sir Henry Baskerville 


In fifty years the suave, imperturbable violin- 
playing detective has appeared in 120 films, 
silent and talkie. On this and following pages 
we present the actors who have portrayed him 

^ hissing Three - Quarter 

B mWt^l m made in London. The late 
Eille Norwood played Sherlock 
with Hubert Willis as Dr. Watson. In this scene 
Holmes is putting aniseed on the wheel of the 
car to help the dog follow a trail. Anthony 
Howlett, film historian of The Sherlock Holmes 
Society, says of Norwood : “ His resemblance to 
Holmes was uncanny.” 

The late John Barrymore (with 
m ^rl) portrayed the detective 

in a Hollywood film called 

Sherlock Holmes (retitled in this country Moriarty). 
Mr. Howlett comments : “The character ofHolmes 
was changed to suit the romantic Barrymore 
personality. And for some inexplicable reason 
the film had a prologue dealing with the detective’s 
youth and college career.” 

In the British version of The 
M m Speckled Band Raymond Massey 

was Sherlock Holmes. In this 
scene he is with Lynn Harding and Arnold 
Stewart. Mr. Howlett comments ; “ Very bad 
casting. He (Massey) looked no more like Holmes 
than James Cagney.” 

Strange Case Of The 
B Missing Rembrandt. Arthur 

Wontner took the Holmes role 
and in this scene he is with Ian Fleming and Jane 
Welsh. The film was made at Twickenham 

Studios. Mr. Howlett comments : “A fiirst-rate 
actor with a strong physical resemblance to the 
character. Easily the best Holmes up to that time.” 


Clive Brook starred in the first 
M Sherlock Holmes talkie. Made 

in Hollywood it was titled 
T/ie Return of Sherlock Holmes. Mr. Howlett 
comments : “ Excellent actor though he was, Mr. 
Brook bore little facial resemblance to the detective. 
This was the film’s main fault.” 

Next to tackle the Holmes role 
B was Basil Rathbone. With him 

in this scene are Wendy Barrie, 
John Carradine and Richard Greene — whom 
youngsters know today as Robin Hood. Mr. 
Howlett comments : “ His (Rathbone’s) Holmes 
made quite an impact. Physical resemblance and 
performance were excellent, though not, perhaps, 
quite in the Arthur Wontner class.” 

Right : Rathbone again in Sherlock Holmes In 
London with Nigel Bruce as Dr. Watson. 

14 5 


S HE is the youngest actress to win a Silver Bear 
at the Berlin Film Festival and she has also 
won a British Film Academy Award for 
being the most promising newcomer to the screen. 
Her name — HAYLEY MILLS. She won them 
for the impish, lovable performance she gave in 
Tiger Bay, when she stole the picture from under 
the noses of her astonished but delighted papa, 
JOHN MILLS, and Germany’s glamour star, 

Did British producers rush to sign her for 
films ? 

“ Actually nothing at all happened,” said 
John. “ There was a deathly hush. But Walt 
Disney realised that in Hayley there was a juvenile 
actress who was really talented. He immediately 
cast her for Pollyanna and for a film a year from 
1960 onwards.” 

What does Hayley herself think of her success ? 
“ Acting is fun,” she says. “ I just play-act 
before the cameras like I’ve always done at home 
and at school.” 

For 14-year-old Hayley, we predict a great 
future — may it always be fun ! 


“ Dumb blonde ” is the title JUDY HOLLIDAY 
won for herself — and for this she was awarded 
an Oscar for her work in Born Yesterday in 1951. 

She is a brilliant zany comedienne, a wonderful 
mimic and a song satirist of the most pungent 

Judith Tuvim, as she had been named, joined 
with two friends, and under the name The Revuers 
they worked up a series of comic sketches. They 
decided to try their luck in Hollywood after making 
a success on the stage — but just over six months 
later they returned to New York — broke. After 
some more ups and downs, Judy got the role in 
the stage version of Born Yesterday that won her 
fame and which she later brought to the screen. 

It was during this that she married David 
Oppenheim, clarinettist, in 1948, and their son 
Jonathan was born in 1952. Yes, they are still 
married ! 

When we saw her in Bells Are Ringing (she had 
previously been appearing in the stage production 
of it), we also heard her in her first musical film. 
Between scenes she was busy with pencil and 
paper for she is also a song writer. Her motto ? 

“ Only one life to live — enjoy it ! ” she savs. 

☆ ★ ☆ 

Slim, lithe, with a perpetual grin on his face, 
JACK LEMMON sings, dances, and plays comedy 
scenes with tremendous gusto. Yet he dresses 
conservatively, for as he says, “ no actor looks 
like an actor any more.” 

Doughnuts brought the Jack Lemmon we know 
to the screen, for his father was vice president 
of a big doughnut company in America and it 
was doughnuts that sent Jack to his schools and 
university. Acting, however, and not doughnuts, 
occupied Jack’s ambition, although World War II 

and the U.S. Navy interrupted. On demobilisation 
he invaded Broadway and after some tough, half- 
starved weeks, he got radio, TV, Summer stock 
and eventually stage work. 

His first film was the lead with Judy Holliday 
in It Should Happen To You, with whom he again 
appeared in Phffft. 

He composes music and complains that he 
doesn’t feel right unless he plays the piano for a 
least an hour every day. He also plays the ukulele 
and harmonica. He regards himself as a frustrated 
song writer and composes a new song nearly 
every day, as he did when working on The Apartment . 

“ I have only one problem,” he says. “ Where 
does the time go ? ” 

☆ ★ ☆ 

For MITZI GAYNOR, life is a bowl of cherries. 
The daughter of a Hungarian musical director 
and a Viennese dancer, Francesca Mitzi Marlene 
de Charney von Gerber, as she was christened, 
first began ballet dancing at the age of four and 
she has been dancing through life ever since. 

She claims that her fundamental rule of living 
is based on her belief in “ Always be yourself.” 

She is naturally impulsive — “ all Hungarians 
are, you know ” — and does not try to curb it. 
Her love of music and understanding of it are as 
much part of her life as her love of Hungarian 
and Viennese food, late hours, good talk and 
originality. She has no phobias, dislikes aftectation 
and adores clothes. 

And tawny-haired, slender Mitzi, with sparkling 
hazel eyes, is a delight to meet. She is talkative, 
gestures with her hands and seems as if she is 
about to take off because she is bubbling inside 
so much. Her recent films have been South 
Pacific, Happy Anniversary, and Surprise Package 
— they showed us the gay, lively Mitzi she is. 


In ** Sur- 
prise Pack- 
age,** Yul 
amused as 
the king, 
kisses Mitzi 
hand after 
her with a 
minor order 

NANCY KWAN . . . called an Oriental Brigitte Bardot. This scene from “The World Of Suzie Wong 

A Personal interview 

4 TtkT WS^^W/mmA Virginia 

iWWr WWmMw McKenna 

/star Vrimmings 
for Me* 

T here are many name tags which accompany 
that of Virginia McKenna. She is called 
an English Rose. She is said to be Un- 
cooperative and Very Unapproachable. 

She was voted “ Actress of The Year ” for her 
performance with Peter Finch in A Town Like 
Alice. Her portrayal of war-resistance heroine 
Violette Szabo in Carve Her Name With Pride 
was acclaimed by the most hardened critic. 

But she has a reputation of refusing Press 
interviews — to be generally unobtainable. 

And, anyway, what has she been doing lately ? 
Her film activities have been at a bare minimum. 
Surely 28 is rather an early age for retirement ? 

Curiouser and curiouser. What has happened to 
Virginia McKenna ? 

Determined to find an answer to it all I managed 
to secure a personal interview. I would try to break 
through the wall of resistance and see for myself. 
In one of London’s plushy hotels I met her. 

I have never been more wrong about a person. 
I found this out after only a few moments of the 
brief time that I spent with her. The Enghsh Rose 
business was quickly dispersed once I caught sight 
of those intense blue eyes of hers and the determined 
set of her chin. Admittedly she has the beauty, 
but no rose ever held its head with quite so much 
self-assurance and confidence. 

The Un-cooperative and Very Unapproachable 
too were soon explained. 

The suite was sumptuous, but Virginia was 
dressed simply. She looked elegant in a sleek skirt 
and cashmere sweater. She was quick to smile and 
gracious. But the one thing that struck me about 
her most of all was the thoughtfulness behind the 
calm cover of her face. 

She told me a little of her career history. It was 
in August 1950 that she walked on to the stage 
for the very first time in Dundee. 

Bom in London and educated at Horsham and 
in South Africa, she arrived in London’s West End 
only seven months after her first appearance. She 
had a part in “ /4 Penny for a Song.'' The play 
flopp>ed — but Virginia didn’t. 

More plays followed, then films : Simba, The 

Ship that Died of Shame and resounding successes 
like A Town Like Alice, The Barretts of Wimpole 
Street and of course Carve Her Name With Pride. 

She can certainly be described as one of our most 
talented actresses and Britain’s most eligible 
candidate for international stardom. But why 
throw away her chances ? Why the publicity ban ? 

It didn’t take any time for her to answer, “ I 
don’t mind publicity as long as it’s for a film. But 
the big personal build-up is not a thing I want for 
myself. I like to be thought of as a fine film 
actress but I don’t want any of the trimmings. 
And more than anything I must feel free. I must 
be able to please myself, 

“ The trouble with being a film-star,” she said, 
“ is that people are only interested in what you do, 
not what you think. To me, there is so much 
more to be had out of life than surface glamour. I 
don’t even enjoy going out that much. 

“ And film-making is much more demanding 
than people seem to realise. Even if I wanted to 
go out, I find that I am too completely exhausted 
at the end of a day’s shooting. 

“ To me,” she continued, “ a part is not switched 
off the moment the director yells ‘ cut.’ It is a 
mood and has a depth that cannot just be changed 
as one would change a dress. Only at the end of a 
picture do I feel that I can really relax.” 

Even at her wedding to actor Bill Travers, 
typically, not one film personality was invited to 
attend. “ We just wanted to get married without 
any fuss or bother,” she explained. 

They have, ideally, a flat in Belgravia and a 
cottage in the country. “ And I try to do all the 
cooking,” she added — “ it’s one of my favourite 
pastimes. Another favourite pastime is looking 
after our little boy.” 

I was curious to know how she would react to 
the lure of the bright lights of Hollywood. 

“ I would go anywhere,” she said, “ Hollywood, 
China, Timbuctoo, as long as it didn’t mean being 
separated from Bill. For me my family must 
always come first — my film career will always be 
secondary — however bright.” 



= HARRY FLICKERS... The man who holds a pan of flickering - 
= coals to (ive the impression of fire. = 

= BERT THE ROCKER The man who rocks a dummy train, or = 

= car. or boat, to jive the effect of move- =: 

= ment when the scene is shot. ^ 

= CHARLEY SPARKS The electrician. = 

■ BRUTE The largest electric lamp used to light = 

= a set. = 

INKY OINKYS Other lamps of varying intensity. = 

= RIFLES Yet another type of lamp. = 

= jELLY A translucent “ Cellophane ” which = 

= diffuses the light from a lamp. = 

: ULCERS Are pieces of boards with irregular = 

= holes cut in them to diffuse the light. = 

= BARN DOORS Hinged pieces of metal which screen = 

= off the light from the side or top of = 

= the lamp. = 

~ GOBO Piece of board, painted black, which is — 

= used to cut out unwanted light. = 

— TOFFEE GLASS Fake glass which can be smashed easily = 

= without cutting anybody. - 















A piece of rope. — 

A piece of soft felt or carpet used to = 
drown footsteps during filming. = 

A stagehand. = 

An attachment which controls the light 
down to a small beam. = 

Board, painted black, to cut out un- = 
wanted light. Like a gobo, but on a = 
stand. = 

Electric light bulb. = 

A 60-ft. trailer used for moving scenery. = 

A machine for making smoke or fog. = 

A guard that goes round the lens of = 
the camera. ~ 

The first showing of the film shot in = 
a single day. = 

A large, open space at the back of the = 
studio — used for outdoor shots. =: 

Bunch of twigs waved to create a = 
flickering shadow effect. = 

The small-part actors and actresses who = 
act as stand-ins for the stars. = 

A filter light. = 



Marjorie Whittle is a top studio hair stylist and has set ” 
to beauty many international stars. She tells about star 
styles and how you can achieve glamour. 

I HAVE been “doing” the hair of famous film 
stars for about 20 years now. It’s interesting 
work, has its moments of glamour, but is 
harder work at times than you might imagine. 
Film-star hairdressing has to fulfil far more 
qualifications than generally realised, there are so 
many extra things that have to be considered. 
Firstly, most feature films are made about six 
months before you actually see them in your 
cinema. And you know how quickly fashions 
change, especially in hair styles. So that means I 
have to work out something that looks glamorous, 
is modem and won’t date. The styling has to be 
soft. Film fans always hate that “ set ” look. 
But at the same time the hair must look immacu- 
late. So you see it often isn’t as easy as it looks. 

When I talk about star hairdressing I suppose 
automatically you think I’m talking about female 
stars. But perhaps you’re surprised to know that 
many of your favourite male screen idols too have 
their share of waving, pin-curls and the rest of it. 
And my goodness, the conceit of those men ! 

I can just hear you saying : “ It’s all very well 
for a film st^r with a hairdresser standing by all 
the time. What I want to know is, how can I keep 
my own hair looking glamorous when I spend all 
day at the office . . . sometimes without being 
able to so much as put a comb through it ? ” 

Well, I’ll give you some ideas that will make your 

hair look just as lovely, all the time. I can’t stress 
enough the importance of having healthy hair. 
This means fresh air — lots of it, and the right sort 
of foods, loads of green vegetables, fruit and so on. 
Take a look at lovely Shirley Eaton’s hair next 
time you see her on the screen. It really glows 
with vitality and radiance. This is because Sh^ *ey 
spends much of her time out of doors. And a 
good general condition always means good hair. 

And don’t try a do-it-yourself hair cut. How- 
ever much you economise and set your hair your- 
self, always put aside a few shillings every month 
and have a cut by a professional hairdresser. He 
will style it to suit you and knows just the way 
your hair grows. With all due respect, you don’t ! 
And if you want a very good logical reason why 
you shouldn’t attempt a home-cut I’ll tell you. 
You’ll never get the scissors at a correct cutting 
angle all the way round. And what’s the use of 
having the front looking perfect with an off-beat, 
crooked back view ? 

Don’t forget to keep your hair whistle-clean all 
the time. Wash it at least every five days. Don’t 
wait until it hangs limp and close to your head. 

It is a good idea to have hair cut so that the 
back is a good length to wear down — for a soft, 
feminine look, or up for a more sophisticated touch 
— for a date or a party. But keep the sides short. 
This way you can play around and vary the look — 
it’s very easy to set the sides to look attractive 
and you can always cope with a tailored look at the 

If you bleach your hair yourself — keep a firm 
eye open for a murky parting. The moment you 
see suspicions of some dark hairs, touch them in 
with a toothbrush dipped in the bleach. If you 
want that lovely, smoky tone instead of a slightly 
brassy look use a neutralising ash colour. You 
can get it from any chemist. But don’t use it on 
already bleached hair. That is unless you want 
to go green. It can have that result. 

My final tip. Don’t underestimate the powers of 
back-combing. It can make the most difficult head 
of hair look sleekly styled and well groomed. 

But whatever you do, for goodness’ sake be 
patient. I’m often tempted to lose my smile at a 
film star’s hair tantrum. But I can’t do it. I 
must persevere until her hair is glamorous and 
perfect. And that’s the attitude you must adopt. 
It’s in your power to make yours just as lovely. 

i f 

I J 


Janina Faye and Frances Green as they appeared in ** Never 
Take Sweets From A Stranger** ... a courageous, hard-hitting 
British film 

Disney*s delightful film ** Toby Tyler** delighted everyone. 
It starred these young troupers. Kevin Corcoran, Barbara Baird 
and Dennis joet 



" The 400 Blowi,” the French film which starred 
Jean-Pierre Leaud, romped away with World-Wide 

LEFT : Rebecca 

Dignam. Her por- 
trayal of a Jewish 
girl in Conspiracy 
Of Hearts ” was a 
memorable one 

RIGHT: Terry Gellert 
with Natalie Wood 
solves a knotty 
problem on the set 
of All The Fine 
Young Cannibals” 


l^pvER has the sUtndard of film making been 
J_^ higher than it is today. Acting is better, 
so are stories ; directors are more exacting, 
photography is more exciting. But the talent that 
makes films is high priced . . . and rising. To be 
a financial success — and nobody is in the business 
solely for love — a film must click with world-wide 
audiences. And for this world-wide appeal its 
stars must be of international calibre. Some of 
them we spotlight on these pages. 



This fast- 
ritini young 
star is with 
Elana Edan 

PofCy Wood 
in •• The 
Story of 
Ruth *’ 


The dy- 
destined to * 
be one of 
the cinema’s 
names. In 
a scene 
from “ Ice 
Palace ” 
with Robert 
Ryan and 

A series of 

r tarts has 
anded him 
at the top. 
Seen here 
with Joanne 
in " From 

Terrace " 




Alec Guinness and John Mills 
• » • can you ever remember 
either giving a dud perform* 
ance 7 We can't I This is a 
scene from their recent 
success ** Tunes Of Glory" 

Hattie Jacques (centre) and 
Terry-Thomas . . .two of the 
best scene stealers in the 
business. Newcomer on the 
left is Claire Gordon. Film, 
" Make Mine Mink ** 

William Hartnell (right) is 
another British stalwart ; 
he's equally at home in 
comedy or drama. This is a 
scene with John Crav^ord 
from "PiccadillyThird Stop'* 



Letlie Phillips does not appear in every film . . . but in practically 
every other one t Here he is with Carole Lesley in '* Doctor 
In Love ” 




-Fint aid for UMroiico 
Olivior'a bruiaod tuildo 
on tho aot of ** Sparta- 
cus.” Ho play* a Roman 
Gonoral in thU O million 


WhaiL do the stars do when they are 
not actually acting in the studios 
or on location? 

There are a hundred and one 
different ways of occupying spare 
time — and a few of them have been 
caught hy the photographer as the 
following pages show. 

Some have first-aid — as you can see 
by our top picture. Then there’s flirt- 
ing, fishing and phoning— and, as 
you can see, it can all be fun ! 

Tuesday Weld and Fabian 
have a fireside chat on the 
set of ** High lime,” in 
which they co'etar with 
Bing Crosby 

No cracks about a trunk call, please I Edmund Purdom and 
Trevor Howard hear the elephant’s side of the story during the 
making of “ Moment Of Danger ” 


Mylene Demongeot, on location for “ The Singer Not The 
Song,” adopts a belligerent attitude. She was only kidding I 

David Niven, one of the most popular men in 61ms, autographs 
the hats of Patty Duke and Kevin Coughlin. They all appeared 
in “ Happy Anniversary " 

One of the happiest off-set shots we’ve seen, it’s Sophia Loren 
back in her home town, Naples, for “ It Started In Naples ” 

Gregory Peck, between scenes for “ On The Beach,” taught 
Ava Gardner to fish. And that looks quite a fishy story being told 
by Mickey Rooney to Terry Moore and Conway Twitty. They’re 
in “ Rich, Young and Deadly” 

At the Academy Awards night last April, glamorous May Britt 
saw the joke cracked by Richard Conte 

Perkins, fast- 
rising young 
man of films. 
You’re going 
to see him in 
a lot of piO' 
tures shortly 
... if he 
ever gets off 
that phone i 


W E agree with that good old Show Business 
slogan and end our own little show with 
this bright and breezy finale by Debbie 
Reynolds and Tony Curtis, who were caught 
“ hamming it up ” between dramatic scenes of 
The Rat Race. 

Oh, just before you go . . . you do know, of 
course, that PICTURE SHOW is the brightest and 
best informed show business paper on the market ? 
It’s on sale EVERY TUESDAY. 4|d.— WHAT 


















Howard Keel in “The Big Fisherman ’’ ; Lawrence 
Olivier in “The Entertainer”; Anne Baxter and 
Ernest Borgnine in “ Summer of the Seventeenth 
Doll ” : Luana Patten ; Stanley Baker in “ Hell is a 
City ” : Sal Mineo in “ Drum Crazy ” ; Anne 

Heywood, Robert Mitchum : “ A Terrible Beauty ” ; 
Montgomery Clift and Lee Remick in “Wild River.” 


Mr. Stubbs in “ Toby Tyler ” ; Gene Kelly in “ Inherit 
the Wind”; Kirk Douglas in “ Spartacus ” ; Jane 
Fonda and Anthony Perkins in “Tall Story ” ; Sophia 
Loren in “That Kind of Woman ” ; Charlton Heston 
in “ Ben-Hur” ; Scene from “Sergeant Rutledge ” ; 
Hayley Mills, Kevin Corcoran and Adolphe Menjou 
in “ Pollyanna ” ; Rhonda Fleming and Efrem 
Zimbalist, Jr., in “The Crowded Sky.” 














Printed in England and published by Fleeheay Publications Limited, Fleetway House, Farringdon Street, London, England. Sole Agents 
for Australia and New Zealand : Messrs. Gordon & Golck, Ltd. ; South Africa : Central Sews Agency, Ltd. ; Federation of Rhodesia and 
i6o Nynsnland : Messrs. Kingstons, Ltd. 










Courtesy of the 

Wisconsin Center for Film and Theatre 


Coordinated by the 
Media History Digital Library 

Funded by a donation from 
John McElwee